"II Trovatore," an opera in four acts, words by Cammarano, was first produced in Rome, Jan. 19, 1853. In 1857 it was brought out in Paris as "Le Trouvere," and in London, 1856, in English, as "The Gypsy's Vengeance." It was produced in Rome in the same year with "La Traviata," but unlike the latter, it was greeted at once with an enthusiastic welcome; and it has held the stage ever since as one of the most popular operas in the modern repertory. In this regard, indeed, it shares with "Martha" and "Faust" the highest place in popular admiration.
The opera opens with a midnight scene at the palace of Aliaferia, where the old servitor, Ferrando, relates to his associates the story of the fate of Garzia, brother of the Count di Luna, in whose service they are employed. While in their cradles, Garzia was bewitched by an old gypsy, and day by day pined away. The gypsy was burned at the stake for sorcery; and in revenge Azucena, her daughter, stole the sickly child. At the opening of the opera his fate has not been discovered.
As the servitor closes his narrative and he and his companions depart, the Count di Luna enters and lingers by the apartment of the Duchess Leonora, with whom he is in love. Hearing his voice, Leonora comes into the garden, supposing it is Manrico the troubadour, whom she had crowned victor at a recent tournament, and of whom she had become violently enamoured. As she greets the Count, Manrico appears upon the scene and charges her with infidelity. Recognizing her error, she flies to Manrico for protection. The Count challenges him to combat, and as they prepare to fight she falls to the ground insensible.
In the second act we are introduced to a gypsy camp, where Azucena relates to Manrico, who has been wounded in the duel with the Count, the same story which Ferrando had told his friends, with the addition that when she saw her mother burning she caught up the Count's child, intending to throw it into the flames, but by a mistake sacrificed her own infant. As the story concludes, a messenger arrives, summoning Manrico to the defence of the castle of Castellar, and at the same time informing him that Leonora, supposing him dead, has gone to a convent. He arrives at the convent in time to rescue her before she takes her vows, and bears her to Castellar, which is at once besieged by the Count's forces.
The third act opens in the camp of the Count, where Azucena, arrested as a spy, is dragged in. She calls upon Manrico for help. The mention of his rival's name only adds fuel to the Count's wrath, and he orders the gypsy to be burned in sight of the castle. Ferrando has already recognized her as the supposed murderer of the Count's brother, and her filial call to Manrico also reveals to him that she is his mother. He makes a desperate effort to rescue her, but is defeated, taken prisoner, and thrown into a dungeon with Azucena. Leonora vainly appeals to the Count to spare Manrico, and at last offers him her hand if he will save his life. He consents, and Leonora hastens to the prison to convey the tidings, having previously taken poison, preferring to die rather than fulfil her hateful compact. Manrico refuses his liberty, and as Leonora falls in a dying condition the Count enters and orders Manrico to be put to death at once. He is dragged away to execution, but as the Count triumphantly forces Azucena to a window and shows her the tragic scene, she reveals her secret, and informing the horror-stricken Count that he has murdered his own brother, falls lifeless to the ground.
The first act opens with a ballad in mazurka time ("Abbietta Zingara"), in which Ferrando relates the story of the gypsy, leading up to a scena for Leonora, which is treated in Verdi's favorite style. It begins with an andante ("Tacea la notte placida"), a brief dialogue with her attendant Inez intervening, and then develops into an allegro ("Di tale amor") which is a brilliant bit of bravura. A brief snatch of fascinating melody behind the scenes ("Deserto sulla terra") introduces Manrico, and the act closes with a trio ("Di geloso amor sprezzato"), which as an expression of combined grief, fear, and hate, is one of the most dramatic and intense of all Verdi's finales.
The second act opens with the Anvil chorus in the camp of the gypsies ("La Zingarella"), the measures accented with hammers upon the anvils. This number is so familiar that it does not need further reference. As its strains die away in the distance, Azucena breaks out into an aria of intense energy, with very expressive accompaniment ("Stride le vampa"), in which she tells the fearful story of the burning of her mother. A very dramatic dialogue with Manrico ensues, closing with a spirited aria for tenor ("Mai reggendo") and duet ("Sino all' elsa"). The scene is interrupted by the notes of a horn announcing the arrival of a messenger. The second scene is introduced by a flowing, broad, and beautifully sustained aria for the Count ("Il balen del suo"), and, like Leonora's numbers in the garden scene, again develops from a slow movement to a rapid and spirited march tempo ("Per me ora fatale"), the act closing with a powerful concerted effect of quartet and chorus.
The third act is introduced with a very free and animated soldiers' chorus. Azucena is dragged in and sings a plaintive lament for Manrico ("Giorni poveri"). Two duets follow, between Azucena and the Count, and Manrico and Leonora,--the second worked up with beautiful effect by the blending of the organ in the convent chapel. The act closes with the spirited aria, "Di quella pira," for Manrico,--a number which has always been the delight of great dramatic tenors, not alone for its fine melody, but for its opportunity of showing the voice and using the exceptional high C which is introduced in the finale of the aria.
The last act is replete with beautiful melodies following each other in quick succession. It opens with a very florid aria for Leonora ("D' amor sull' ali rosee"), leading to the exquisite scene of the Miserere, "Ah che la morte,"--a number which has never yet failed to charm and arouse audiences with the beauty and richness of its musical effect. As the Count enters, Leonora has another powerful aria ("Mira di acerbe"), which in the next scene is followed by the familiar duet between Azucena and Manrico, "Si la stanchezza," upon which Verdi lavished his musical skill with charming effect. The last scene closes with the tragedy. The whole opera is liberally enriched with melodies, and is dramatic throughout; but the last act is the crown of the work, and may successfully challenge comparison, for beauty, variety, and dramatic effect, with any other opera in the purely Italian school.
