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Home , Alan Opie, Anvil Chorus, Di quella pira, I due Foscari, La zingara, Pasticcio

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CHAN 3036(2) CHANDOS O PERA I N ENGLISH

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Giuseppe Verdi (1813–1901) Il trovatore (The Troubadour) in four parts

AKG Text by Salvatore Cammarano, from the drama El trovador by Antonio Garcia Gutiérrez English by Tom Hammond Count di Luna, a young nobleman of Aragon ...... Alan Opie Ferrando, captain of the Count’s guard ...... Clive Bayley Doña Leonora, lady-in-waiting to the Princess of Aragon ...... Sharon Sweet Inez, confidante of Leonora ...... Helen Williams soprano Azucena, a gipsy woman from Biscay ...... Anne Mason mezzo-soprano Manrico (The Troubadour), supposed son of Azucena, a rebel under Prince Urgel ...... Dennis O’Neill Ruiz, a soldier in Manrico’s service ...... Marc Le Brocq tenor A Gipsy, a Messenger, Servants and Retainers of the Count, Followers of Manrico, Soldiers, Gipsies, Nuns, Guards Geoffrey Mitchell Choir London Philharmonic Nicholas Kok and Gareth Hancock assistant conductors David Parry

Further appearances in Dennis O’Neill: (CHAN 3004 and CHAN 3005(2)), (CHAN 3003 and CHAN 3005(2)), Tosca (CHAN 3000(2)), La bohème (CHAN 3008(2)) and a recital disc of Great Operatic (CHAN 3013) Alan Opie: (CHAN 3025(2)), Pagliacci (CHAN 3003 and CHAN 3005(2)), La bohème (CHAN 3008(2)), Mary Stuart (CHAN 3017(2)) and (CHAN 3030(2)) Clive Bayley: Highlights from (CHAN 3007)

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COMPACT DISC ONE Time Page COMPACT DISC ONE Time Page Part II Part I Scene 1 Scene 1 10 ‘See how the shadowy clouds are flying’ (‘Anvil Chorus’) 2:42 097 1 ‘Wake up, there, wake up, there!’ 3:06 90 Gipsies Ferrando, Servants and Soldiers 11 ‘Fierce flames are raging’ 5:57 097 2 ‘Heav’n had giv’n my old master’ 7:45 90 Azucena, Gipsies and Manrico Ferrando, Servants and Soldiers 12 ‘They brought her, fettered and pow’rless’ 7:59 098 Azucena and Manrico Scene 2 13 ‘As we struggled he stumbled before me’ 4:37 100 3 ‘Come, wait no longer’ 2:13 92 Manrico, Azucena and a Messenger Inez and Leonora 14 ‘You are still too weak to venture’ 2:19 101 4 ‘The stars shone in the heav’ns above’ 4:58 93 Azucena and Manrico Leonora and Inez 5 ‘No words can tell the measure’ 1:42 94 Scene 2 Leonora and Inez 15 ‘All is deserted’ 1:54 102 6 ‘How still the night is’ 2:08 94 Count di Luna and Ferrando Count di Luna 16 ‘In the stars that shine above me’ 4:19 102 7 ‘The Troubadour! The madman!’ – Count di Luna and Ferrando ‘Though naught on earth is left me’ 2:25 94 17 ‘The hour has come, no more delay’ 3:03 103 Count di Luna, Manrico and Leonora Ferrando, Retainers and Count di Luna 8 ‘Who’s speaking?’ 1:37 95 18 ‘Here in this world of sorrow’ 5:07 103 Leonora, Count di Luna and Manrico Nuns, Count di Luna, Ferrando, Retainers, Leonora and Inez 9 ‘Jealous fury and slighted passion’ 2:34 96 19 ‘Oh, can it be, can I believe’ 4:46 104 Count di Luna, Leonora and Manrico Leonora, Count di Luna, Manrico, Inez, Ferrando, Nuns, Retainers, Ruiz and Followers TT 71:23 00

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COMPACT DISC TWO Time Page Time Page 9 ‘Breeze of night, go seek him’ 4:06 114 Part III Leonora Scene 1 10 ‘Lord, have mercy upon a soul departing’ (‘Miserere’) 5:13 114 1 ‘Though today we take our leisure’ (‘Soldiers’ Chorus’) 4:34 107 Chorus, Leonora and Manrico Soldiers and Ferrando 11 ‘You will see that my devotion’ 2:10 115 2 ‘She’s in my rival’s arms!’ 2:29 107 Leonora Count di Luna, Ferrando, Guards and Azucena 12 ‘Now hear me!’ 1:54 115 3 ‘Though my life was poor and lowly’ 3:12 109 Count di Luna and Leonora Azucena, Ferrando, Count di Luna and Guards 13 ‘See all these bitter tears of mine’ 3:25 116 4 ‘Ah! Release me from these cruel bonds’ 2:09 110 Leonora and Count di Luna Azucena, Count di Luna, Ferrando and Guards 14 ‘The man shall live’ – ‘He lives! I cannot speak for joy’ 2:22 117 Scene 2 Count di Luna and Leonora 5 ‘But what mean all these sounds of war around us?’ 2:14 111 Leonora and Manrico Scene 2 6 ‘When holy church has blessed our love’ 5:06 112 15 ‘Mother, not sleeping?’ 5:26 118 Manrico, Leonora and Ruiz Manrico and Azucena 7 ‘That fierce inferno, her cruel sentence’ 3:17 113 16 ‘Yes, let me sleep for my limbs are weary...’ 4:46 119 Manrico, Leonora, Ruiz and Soldiers Azucena, Manrico and Leonora 17 ‘You will not say?’ 3:01 120 Part IV Manrico, Leonora and Azucena Scene 1 18 ‘Now leave me!’ 4:58 121 8 ‘We’re there now’ 3:00 113 Manrico, Leonora, Count di Luna and Azucena Ruiz and Leonora TT 63:3300

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would have found that, while superficially lines that precisely match the characters Giuseppe Verdi: Il trovatore following the standard forms of early singing them unconsciously focus the mind nineteenth-century opera in Italy, Verdi subtly and ear of the listener as he experiences this Superior souls, even my own on occasions, tell appealed to him was the character of the gipsy and ingeniously altered them to make the enthralling opera. us that the greatest Verdi is – of course – woman Azucena, the perpetual conflict in her free-flowing music drama that is one of Ferrando’s opening Narration, sometimes found in his two late masterpieces, and mind between maternal and filial love. No Trovatore’s overriding glories. thought of as a weak passage, only there to ; and of the famed middle-period wonder he thought of naming the opera after As Francis Toye, an eminent Verdian of an elucidate the plot, is in fact a riveting tale, trinity, is placed above its two, her; no wonder all her music is so original and earlier generation, pointed out, this piece may when fully understood (good reason to hear it more raw predecessors. Then there are the epic inspired. be ‘ in excelsis’ and ‘the apotheosis of in English), that immediately draws us into , the magical blend of lightness and Verdi was also attracted to her because, like both the good and bad in early Verdi’, but you the strange tale of accidental death and its tragedy of and the Rigoletto, she was an outcast, an outsider; so have only to examine the two scores, or better consequences, and of revenge to be wreaked sprawling panorama that is La forza del he demanded from his librettist, the poet still encounter them in the theatre or on disc, on the errant gipsy woman. Verdi makes the destino. Yet something about Il trovatore Salvatore Cammarano, a book that would to discover that in Trovatore Verdi had scene hypnotic by the insistent repetition of a (The Troubadour) makes it unique in Verdi’s allow him the freedom of expression already tightened his forms, improved his orchestral semiquaver figure. output, a work that , in his encountered in Rigoletto. Indeed he declared textures, and refined and varied his vocal Once in the garden of the palace we are in a comprehensive study of the , calls that when he was given verses to set, the more lines so that, as is not the case in Ernani different world, literally and musically: a world ‘without parallel in the whole of operatic novel and bizarre they were the more he liked (a wonderful piece in its own rudimentary of romantic thought and love as Leonora literature’. them. Cammarano may not have been quite way), not a bar could really be removed recalls a strange encounter with a valorous His verdict is borne out whenever one hears up to the demands Verdi made upon him, without damaging its carefully crafted knight. In ‘The stars shone in the heav’ns the piece: its earthy energy, unending melody rather too keen to follow the layout of the structure. Listen to the amazing close of Part above’ (Tacea la notte), the first of the opera’s and onward thrust always catch the original play, but as an experienced man of the II, ending with a repeat of Leonora’s glorious heartrending and unforgettable melodies, imagination anew. Verdi himself seems to have theatre he did provide Verdi with a phrase ‘Have you come down from Paradise’ Verdi produces a song of luminous beauty, been immediately captured by the that readily fired the composer’s fertile (Sei tu dal ciel disceso) rather than a formal itself capped by a in which Leonora opportunities that Gutiérrez’s drama imagination. When the eccentric critic and stretta, and the advance in Verdi’s technique is expresses undying love for the stranger. The El trovador would give him as a libretto. It musicologist Joseph Kerman declared that plain, as it is, of course, throughout the Count di Luna enters to commune with offered in abundance the strong situations in Trovatore is ‘a magnificent demonstration of concentrated, economic composition of the Leonora, on whom he has set his cap, but he is which his sombre genius revelled: witness unprincipled ’ and a backsliding to final scene, surely one of the greatest in all interrupted – magical moment – by the voice Ernani and among Trovatore’s ‘the bad old style’, he may not have studied Verdi. In purely musical terms, matters such as of her lover Manrico, heard singing, in predecessors in his œuvre. What particularly the score closely enough. If he had done so he key relationships, recurring motifs, and vocal romantic terms, of his desolate heart: a typical

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Verdian cantilena. After Leonora momentarily typical of all his music in its rude energy adept and daring with each opera, each before he sings his rousing cabaletta ‘That confuses the two, she and Manrico declare tempered by lyrical ardour. He is interrupted character given a line appropriate to his or her fierce inferno’ (), whose high Cs their love in rapturous terms while Luna by his sidekick Ruiz who tells him that state of mind before that phrase of Leonora’s, test any tenor’s mettle and metal. denounces the brigand, all in an impetuous Leonora, thinking him dead, is about to enter already referred to above, shows the ecstasy of Manrico having failed in his mission, trio. The views of the love-triangle have been a convent. This is the signal for a forthright, her reunion with the beloved. Leonora comes to the dungeon to see what she admirably adumbrated, the scene set for the headlong cabaletta. After the soldiers’ martial song at the start can do to save him. In an expressive Adagio ensuing conflicts. We are now transported to the convent of Part III Azucena, captured by Luna’s ‘she sighs out her soul to the night’ in the The ‘Anvil Chorus’, sung by the gipsies at a garden where the scheming Luna plans to retainers, again takes centre stage, telling them critic Ernest Newman’s apt phrase, though I wild spot in the Biscayan mountains, may abduct Leonora. He is given what was at one in the lamenting tones of the moving solo dispute his view that the spoils it: it have been spoilt by overuse in inappropriate time the score’s most famous number, ‘In the ‘Though my life was poor’ (Giorni poveri) of seems indeed to heighten the emotions that circumstances. Heard afresh, its plain speaking stars’ (Il balen), in which he expatiates on her predicament. She reveals just a little too Leonora is expressing. The famous Miserere about gipsy life is its own justification. Leonora’s attractions. It is indeed a gift for any much about her past and is put in bonds by follows. A death bell tolls, a choir pleads for Azucena’s profile is defined in her two baritone, an expression of fervent ardour, her captors, at which point she launches into a mercy in a solemn chant, Leonora laments in contrasted solos, the first hypnotic, recalling finely turned. In a fiery cabaletta he reveals his desperate cabaletta calling on Manrico to save moving terms, and from the prison Manrico the burning of her mother, the second, for the true nature. This is the very epitome of her, while the Count exults in thoughts of bemoans his unhappy lot. Verdi is here at his ears of her supposed son Manrico alone, the vigorous middle-period Verdi. double vengeance. Verdi is once more at his most inspired, offering a concept that was terrible story of her own revenge, in which she The final scene of Part II is masterly. First most compelling, the vocal and rhythmic entirely new and exciting. inadvertently reveals that it was her own son Verdi arrestingly contrasts the Count’s counterpoint wholly apt to the situation and Left alone, Leonora sings a heartrending and not the old Count’s boy she had imprecations with the soaring melody of the displayed with admirable brevity: so much is cabaletta saying Death cannot kill Love. A sacrificed. In both these solos Verdi, through nuns’ chorus. We suffer and feel for Leonora expressed in so small a space of time. piece once omitted, it is in fact essential to the vigour of his rhythms and the limning of as she bids Inez farewell (Verdian at We return to the lovers for the next scene. both a full understanding of Leonora and to the text, graphically fills out Azucena’s its most eloquent) before the Count attempts In a recitative and Manrico displays his at the scene’s structure. No sooner has she sung character. to seize her. All are amazed by Manrico’s once romantic and heroic nature. Then her heart out than she is confronted by Luna. Manrico, naturally unsettled by what he has sudden appearance, none more than Leonora Leonora and he sing an exquisite duet as they He doesn’t at first see her and sings a soliloquy just heard, seeks and gains reassurance from whose phrases starting ‘Oh, can it be, can I intend to marry (compare a similar moment of uncertain of her whereabouts. She steps out of Azucena that indeed he is her son. In the believe’ (E deggio e posso crederlo) graphically fleeting happiness for the lovers in Act II of the shadows and pleads for mercy for following duet Manrico tells his own tale of suggest her feelings of relief and joy. The Ernani), before Ruiz reports Azucena’s capture Manrico, ‘See all these bitter tears of mine’ his inability to kill his enemy Luna. His ensuing ensemble is the best kind of and the intention to burn her at the stake. (Mira, di acerbe lagrime) and asks that her life opening ‘As we struggled’ (Mal reggendo) is concertato, at which Verdi was becoming more Manrico rushes off to rescue her but not be taken instead. It is a vigorous duet, Leonora

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desperately appealing to Luna’s better nature, has sent his own brother to the block. Luna struggle for the succession to the throne of descended directly on the male side from he implacable in his vengeance and lust. In exclaims, with Leonora dead at his feet, ‘And I Aragon. After two and a half centuries of Martin’s grandfather, King Alfonso IV. Martin extremis, she promises to be his if Manrico is still live!’ (E vivo ancor!). This swift Catalan rule, the death of the old King Martin had awarded him the title of Lieutenant of freed. While he is giving a guard orders to that denouement brings down the curtain on an had ended the hegemony of the Counts of Catalonia, customarily held by the heir to the effect, she takes poison. They then launch into operatic experience that never stales. Barcelona. His only son had died the previous Aragonese throne. This appointment enabled the fevered cabaletta ‘He lives! I cannot speak year, leaving only an illegitimate grandson, him to maintain an army but did little for his for joy’ (Vivrà! Contende il giubilo). The © 2000 Alan Blyth Fadrique, favoured by the old king but reputation for governing: he was known as headlong tragedy is about to reach its climax. unacceptable to the church. There were three Jaime the Hapless (or El desdichado). His The long dungeon duet, at the start of the The History behind ‘Il trovatore’ other prominent candidates for the vacant support derived from his native Catalonia, final scene, between Azucena and Manrico is throne. from many of the dispossessed nobility, and preceded by sombre, death-haunted chords. The fifteenth century Luis of Anjou was the grandson of King initially from the Lunas, the family of the She speaks as if in a hazy dream, he tries to The troubadour hero of Gutiérrez’s play Martin’s elder brother and predecessor King Pope. comfort her, and Verdi catches their respective El trovador and of Verdi’s opera Il trovatore is Juan, but was still a child and lived in France, The Pope, or rather anti-Pope as this was feelings in phrases that etch themselves on the fictitious. So are Leonora, Azucena and even and was identified as ‘the French candidate’. the period of the Great Schism, was Benedict listener’s mind. When Leonora enters and the Count di Luna despite his bearing a name Ferdinand of Antequera was the son of XIII. Aragonese by birth and arrogant by pleads with Manrico to escape, he realises that redolent of the great events of Spanish history. Martin’s sister Leonora. She had married into nature, Benedict XIII was once Pedro de Luna she has compromised herself on his behalf but But the action of the opera takes place the Trastámara family, which ruled the and Cardinal of Aragon. He was deposed as does not know she has taken poison. He within a historical context. Leonora is neighbouring kingdom of Castile from 1368 Pope in 1409 but refused to resign and denounces her in virulent terms, but gradually, lady-in-waiting to the Princess of Aragon and to 1474. His elder brother Henry, known as eventually retired to the stronghold of as she falters, he comes to his senses. The quick lives in the royal palace of Aliafería near the Ailing, had died in 1406, leaving as regent Peñiscola, where he reigned in splendid movement of the drama is tautly controlled by Zaragoza. The Prince of Aragon’s army is the queen mother Catherine of Lancaster, a isolation as the most eccentric of the three Verdi, who adds, in a stroke of genius, a commanded by the Count di Luna. Manrico descendant of John of Gaunt, whose rival popes. He was declared schismatic by the repetition of Azucena’s poignant lament. attests his allegiance to the opposing forces of imperialist Peninsular campaign lasted on and Council of Constance in 1417 and died in Leonora bids him farewell in a phrase, ‘Rather Count Jaime de Urgel, whose name is invoked off between 1372 and 1386. Ferdinand’s 1423. than live to be his bride’ (Prima che d’altri by Ruiz at the end of Part II (Long live candidature had support from some of the Urgel’s case was seriously weakened when vivere), to die for, which she duly does. Luna freedom!/Urgel viva!). So, although politics nobility and eventually from the Pope. his supporters (led by Don Antonio de Luna!) steals in, gathers the truth, and commands remain in the shadow of the drama, they Jaime of Urgel, however, started with the assassinated the Archbishop of Zaragoza, the Manrico to be taken to the scaffold. Only then nevertheless exist. strongest claim. Not only was he married to head of the Aragonese church. The Pope does Azucena rouse herself, declaring that Luna The time is 1410 and the cause is the Martin’s younger sister Isabel, but he was excommunicated Antonio de Luna and

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transferred his allegiance from Urgel to united in 1479 when the two branches of the At the time, the twenty-three-year-old Austrians reconquered Lombardy and the Ferdinand. Trastámaras were brought together by the Gutiérrez had enlisted as a volunteer in the Veneto. Bourbon absolutism was restored to Instead of the traditional election by Cortès, union of Ferdinand and Isabella. army which Mendizabel was raising to defend Naples under Austrian protection. Only it was decided to form a commission of nine the liberal constitutional monarchy of the Piedmont retained a democratic constitution theologians and jurists, three from each The nineteenth century young Queen Isabella II against the rival under Vittorio Emmanuele. province, to make a judgement between the Those who accuse Verdi of accepting a claims of her uncle, the arch-absolutist In 1852 Camillo Benso di Cavour was candidates. The Compromise of Caspe, the complicated plot may be grateful that he pretender Don Carlos. The fifteenth-century appointed first minister of Piedmont. He was small town where the boundaries of the excluded so much of the fifteenth-century civil war thus had a special contemporary to become the principal architect of Italian provinces met, took nine months to find by historical detail. Art, as often, managed to significance for the young Gutiérrez and his unification, and he was unstintingly admired majority vote in favour of Ferdinand. simplify life. Verdi instinctively saw the excitable audience. by Verdi. Cavour invited Verdi to stand as a Urgel did not accept the verdict and retired dramatic conflict inherent in the historical And so, in a more generalised way, it did for deputy in the first national parliament in 1861. to Gascony to gather troops for rebellion. He situation. Il trovatore is not the only example Verdi in the political turmoil of mid- The Second Italian War of Independence then invaded the kingdom through Biscayan in Verdi’s output of the strong dramatic nineteenth-century Italy. 1848 was the Year of began when Cavour received the Austrian country. It is this civil war which forms the possibilities arising from Spain’s slow Revolutions, including the First Italian War of ultimatum on 23 April 1859. So excited was background for Il trovatore. The Count di emergence from the Middle Ages. Already in Independence. Sicily expelled Neapolitan he that he could do nothing but dance around Luna in the opera is commander-in-chief of Ernani he had depicted the period a century troops and declared an independent the room waving the despatch in the air. He Ferdinand’s army. Manrico is a guerilla leader later, in which the feudal divisions were democracy. Austrian troops were expelled from finally found release for his accumulated on the side of the Count of Urgel. brought together under the strong, centralised Lombardy and the Veneto. Naples, Tuscany, emotions by flinging wide the window and Urgel’s rebellion was eventually defeated, leadership of Charles V. Later he was to return the Papal States and Piedmont were compelled belting out Manrico’s ‘Di quella pira’ (That and he died in captivity. Ferdinand became the to Spanish history at the time of Charles’s son, to grant written constitutions. was fierce inferno) at the top of his voice. On this undisputed King of Aragon. Though he owed Philip II, for his Don Carlos. declared a republic. The Pope fled from Rome. occasion history imitated art. his throne to the support of the church, he Gutiérrez’s play has more in common with Verdi’s , perhaps his soon disowned Benedict XIII, the Aragonese Victor Hugo’s Hernani than with the more most overtly political opera, was premiered in © 2000 Nicholas Payne anti-Pope. During his short reign he also sophisticated drama of Schiller’s Don Carlos. Rome on 27 January 1849. Less than two offended the Catalans by relying on Castilian The first night of El trovador on 1 March weeks later Rome was declared a republic. The Synopsis of the opera advisers. Nevertheless he acquired the name 1836 was a success unparalleled in Spain’s triumph of the liberals, with whom Verdi was Ferdinand the Just. He was succeeded in 1416 theatrical history and marked the first occasion identified, was short-lived, however. That The action of the opera takes place in by his better known son Alfonso the on which an author had appeared on stage to summer the Roman republic was crushed and northern Spain, in the provinces of Aragon Magnanimous. Aragon and Castile were finally receive the public’s acclaim. the Pope was restored by French troops. The and Biscay.

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Twenty years before the events of the opera, events surrounding Garzia’s disappearance 2 . Part II. The Gipsy rescued him from the battlefield and tended the old Count di Luna had two infant sons. He is convinced that the old gipsy was a malign Scene 1. A rebel camp in the mountains of his wounds. She reproaches Manrico for When the younger, Don Garzia, mysteriously sorceress whose protestations of innocence were Biscay sparing his rival’s life the night he overpowered began to sicken, an old gipsy, who had once lies, and that her daughter’s mad vengeance It is almost dawn. A band of gipsies prepares him in the duel, only to let himself be been found lurking by his cradle, was remains to be punished. They superstitiously for another day’s work by taking up the wounded by Luna’s men in the subsequent immediately suspected of bewitching him. She believe that the gipsy’s spirit still haunts the blacksmith’s irons 10 . battle. Manrico tries to explain how an inner was arrested and burned to death. With her palace. When midnight strikes, the men scatter Alerted by news of the recent rebel defeat, voice stayed his hand on that occasion, but dying words she called upon her daughter in terror. Azucena found Manrico left for dead on the swears not to spare his rival again 13 . Azucena to exact revenge. Soon afterwards the battlefield and nursed him back to health. A messenger delivers a letter. The rebels boy Garzia disappeared, and the charred Scene 2. The gardens of the palace Now she broods by the fire and obsessively have captured the stronghold of Castellar and remains of a child’s skeleton were found among Leonora lingers late on her way back to the relives the scene of her mother’s death 11 . Manrico is to take charge of its defence. The the ashes of the gipsy’s pyre. But the old Count palace in the hope of seeing the unknown When the gipsies have departed, Manrico letter adds that Leonora, believing him dead, remained convinced that his younger son had knight with whose valour she fell in love at a demands to know the full tragic story. Azucena’s is to enter a convent that very evening. survived and, with his last breath, called upon tournament before the civil war began 3 . She version is that her mother was falsely accused of Despite Azucena’s protests 14 Manrico rushes his heir to continue the search. tells Inez how he has returned as a troubadour witchcraft by a wicked Count and condemned away to rescue his love. The years have passed; the country is in a singing plaintive songs of love wafted to her by to a terrible death 12 . She followed her mother state of civil war. The rebel Biscayan forces are the scented night air 4 . Despite her friend’s at a distance, her own child in her arms, and Scene 2. The convent of the Holy Cross at ranged against the royalist troops led by the warnings she vows to remain true to him, even struggled through the pressing crowds, close Castellar young Count di Luna. should it lead to death 5 . enough to hear her mother’s dying curse – The Count, enflamed by his scorned passion The Count is determined to force himself ‘Avenge my death’ – which has remained with and believing Manrico dead, is also determined Part I. The Duel upon Leonora 6 but is disturbed by the her ever since. She stole the Count’s child from to prevent Leonora from taking the veil. He Scene 1. A vestibule in the royal palace of sounds of his unknown rival’s serenade 7 . his palace, intending to burn him in the relit has planned for his retainers to kidnap her so Aliafería Running towards her lover’s voice in the embers of her dying mother’s fire, but, crazed that she may be his alone 15 – 17 . It is almost midnight. The Soldiers of the watch darkness, Leonora blunders into the arms of by pity, guilt and horror, murdered her own Leonora is resigned to her grief and bids her are weary. Ferrando warns them to keep a look- the Count. Manrico reveals himself 8 and the child instead. friends farewell 18 . She is surprised by the out for the unknown troubadour whose singing Count recognises him as a condemned traitor ‘Who am I?’, demands Manrico. ‘You are Count but his ambush is thwarted by the continually interrupts the Count’s nightly in league with the rebel Urgel. Despite my own son!’, Azucena lies, anxiously trying miraculous appearance of Manrico 19 . His watch beneath Leonora’s window 1 . To keep Leonora’s protests the two jealous rivals rush to alter her impassioned story. She cites her followers disarm the Count and Manrico them awake he agrees to tell his version of the off to fight 9 . maternal care for him as evidence, how she abducts Leonora.

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Part III. The Gipsy’s Son is his mother who is in danger. He abandons as the poison takes effect he realises the , State Opera and Scene 1. The Count di Luna’s camp before the his marriage and summons his soldiers to sacrifice she has made for his freedom 18 . the ) and in Chicago and walls of Castellar engage in an immediate rescue attempt 7 . When the Count discovers that he has been New York (The ). Notable The Count’s soldiers are relaxing before their deceived and that Leonora is dying before his successes have included Paolo (Simon planned assault on the rebel position at Part IV. The Torture eyes, he orders Manrico’s immediate execution. Boccanegra), Sharpless, Beckmesser Castellar 1 . Ferrando promises them rich Scene 1. A wing of the palace of Aliafería He drags Azucena to witness it. At last she (at Bayreuth), Balstrode, the Forester plunder when they take it. The Count is The attempt failed. Manrico has been reveals the truth: ‘Manrico was your brother! () and the title role in tormented by the knowledge that Leonora is captured. It is night. Ruiz escorts Leonora You are avenged, oh mother!’ ’s Outis (at Teatro alla Scala and there with Manrico 2 . within the fortress and indicates the tower Châtelet théâtre musical). His many Azucena is found wandering behind the where Manrico is incarcerated 8 . She is © 2000 Nicholas Payne recordings, besides the role of Beckmesser in lines and is brought in for questioning on calmly determined 9 . While a solemn the Grammy-award winning Die Meistersinger suspicion of spying. At first the Count shows Miserere is intoned 10 , Manrico’s voice is Alan Opie trained at the Guildhall School of von Nürnberg under Sir , include some sympathy towards the poor Biscayan heard singing a last farewell. Leonora resolves Music and Drama and at the London Opera Christopher Columbus (a with music gipsy, hoping she might have some knowledge to save him 11 . The Count arrives to supervise Centre. He became Principal Baritone at by Offenbach) and Offenbach’s Robinson of his brother stolen twenty years ago 3 . the execution of his two prisoners 12 and is while still a student Crusoe for Opera Rara and, for Chandos, Peter Only when Ferrando recognises her as Garzia’s astonished to find Leonora. She offers herself and served as company member for more than Grimes (which won a Grammy award), Billy suspected murderess, and Azucena to him in return for Manrico’s release 13 . twenty-five years; he has been a regular guest Budd, The Rape of Lucretia, Martin’s Lie inadvertently calls on the absent Manrico to While the Count arranges Manrico’s release, since 1996. His repertoire has included the (Menotti), Troilus and Cressida (Walton), War save his mother, does the Count realise that, she swallows poison 14 . title roles in The Barber of Seville, Falstaff and Peace (Prokofiev) and, in association with through her, he has the power to avenge (nominated for an Olivier award) and Busoni’s the Peter Moores Foundation, Mary Stuart, himself both on his brother’s killer and on his Scene 2. Inside the prison Dr as well as Don Alfonso, Papageno, The Barber of Seville, Rigoletto, Pagliacci and hated rival 4 . Azucena is dragged off to be Manrico tries to comfort Azucena, still Dr Malatesta, Don Carlo (Ernani), Germont, La bohème. burned. tortured by memories of her mother’s fate Melitone (The Force of Destiny), Ford, which now awaits her 15 . She knows she is Sharpless, Eisenstein, Dr Falke, the Fiddler Trained at the Royal Northern College of Scene 2. A hall next to the chapel in Castellar close to death but falls asleep dreaming of the (Humperdinck’s Die Königskinder), Valentin, Music, the bass Clive Bayley is well Despite the impending battle Manrico and mountains of her homeland 16 . Leonora Kovaljov (Shostakovich’s The Nose) and established on major concert and opera stages Leonora are about to be married 5 – 6 . Ruiz arrives to tell Manrico he is free to go at once, Balstrode (). He has appeared with throughout Great Britain and abroad and has reports the capture and imminent burning of but she must stay. At first he bitterly all the major British opera companies and at developed a repertoire that ranges from Azucena. Manrico confesses to Leonora that it reproaches her for betraying their love 17 , but opera houses throughout Europe (including Monteverdi to Birtwistle. He made his debut

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with , Covent Garden in the (Il trovatore) and Elisabeth (Tannhäuser) at the Moore in London. She made her Glyndebourne () on tour of the Far East and has since world premiere of Sir ’s German Opera in Berlin during the 1986/87 Festival Opera debut in 1988 as Sashka in performed numerous roles with the company, Gawain, and have subsequently appeared as season. Appearances followed at the Paris Osborne’s The Electrification of the Soviet Union, including Marcellina (Le nozze di Figaro), Colline, Hans Flotz (Die Meistersinger von Opéra (Elisabetta di Valois in Don Carlos), in returning to sing Emmie in . She Annius (La clemenza di Tito), Enrichetta Nürnberg) and José Castro (La fanciulla del Vienna, Zurich, Hamburg and at the Bavarian appeared in Peter Grimes at the St Endellion (I puritani), Emilia (Otello), Suzuki, Wellgunde West). His numerous roles with State Opera in Munich. Specially popular roles Festival in 1994. Her roles elsewhere have (Das Rheingold and Götterdämmerung), have included Antinoo (Il ritorno d’Ulisse in include Norma (Théâtre royal de la Monnaie, included Dalinda (Ariodante) and Amor Waltraute (Die Walküre), Annina (Der patria), Wurm (), Sparafucile, and in Rome, Barcelona, Lisbon and (Orpheus and Eurydice) with English National Rosenkavalier) and Guinevere (Sir Harrison Ferrando (Il trovatore), the Monk and the Bilbao) and (the Arena in Verona and in Opera; Yvette (La rondine) and Second Niece Birtwistle’s Gawain). She has also appeared Grand Inquisitor (Don Carlos), the title role in her American debut in San Francisco in 1989). (Peter Grimes, on tour to Finland) with The with Welsh National Opera (Dorabella), Le nozze di Figaro, the Commendatore, In 1990 she made her debut at The Royal Opera, Covent Garden; Naiade (Ariadne English National Opera (Marcellina and Sarastro, Biterolf (Tannhäuser), the Doctor Metropolitan Opera, New York in Il trovatore auf Naxos) and First Lady () Dorabella), Scottish Opera (Cornelia in Julius (Wozzeck), Arkel, Kecal (The Bartered Bride), and has returned every season in works that with Scottish Opera; Helena (A Midsummer Caesar, Sextus in La clemenza di Tito and Ebn-Hakia (Yolande/Iolanta) and Sir Walter include Don Giovanni, , Un ballo in Night’s Dream) with Opera North; Ellen in the Adalgisa in Norma), Glyndebourne Festival and Raleigh () beside appearing in the maschera, , beside the title world premiere of Hey Persephone! at Aldeburgh Touring Operas and at the BBC Promenade British premiere of Verdi’s Jerusalem. At English role in Turandot which she has also taken to and the Almeida Festival; and Flaminia Concerts. Abroad she has sung at The National Opera he has sung Cadmus (Semele), The Royal Opera, Covent Garden, the Opéra (Haydn’s Il mondo della luna) with Opera Zuid Netherlands Opera (Suzuki), Madrid Opera, Arkel and roles in The Tales of Hoffmann, national de Paris-Bastille, to Florence and to in Holland. Her concert repertoire is wide Semper Opera, Dresden (Penelope in Il ritorno Dr Faust, Wozzeck and Billy Budd. His many the Forbidden City in Beijing. Most recently ranging and her recordings include, for d’Ulisse in patria), Batignano (Penelope), recordings include, for Chandos, Troilus and she has sung Aida at The Metropolitan Opera Chandos in association with the Peter Moores Theater (the title role in ) Cressida (Walton), Billy Budd and, in and Ariadne (Ariadne auf Naxos) with the Israel Foundation, Donizetti’s The Elixir of Love. and at the Aix-en-Provence Festival and association with the Peter Moores Foundation, Philharmonic Orchestra. She has appeared in Innsbruck Festival of Early Music. She is an and highlights from Boris concert with the world’s leading musicians and Born in Lincolnshire and trained at the Royal active concert artist and her recordings include, Godunov. made several acclaimed recordings, including Academy of Music and at the National Opera for Opera Rara, Donizetti’s Emilia di Liverpool Falstaff under Sir Colin Davis. Studio, mezzo-soprano Anne Mason made her and Mayr’s Medea in Corinto. The dramatic soprano Sharon Sweet began her professional debut at Opera North, singing international career with a Having studied singing at the Royal Northern Fenena () and Second Lady (The Magic Born in Wales of Irish and Welsh parents, of Aida in Munich and continued it with College of Music, soprano Helen Williams has Flute). She made her debut with The Royal Dennis O’Neill is one of the world’s leading successful interpretations of Leonora continued her studies with Gerald Martin Opera, Covent Garden singing Mercedes and a specialist in the works of Verdi.

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He enjoys a close relationship with Welsh Peter Moores Foundation. He was awarded the former Czechoslovakia, Canada and symphony orchestra at Glyndebourne Festival National Opera and with The Royal Opera, CBE in the 2000 New Year’s Honours list. Australasia. Early experience with Opera for the past thirty-five years. The Covent Garden where his many roles have the BBC led to a wider involvement with his Orchestra’s versatility and reputation for included Edgardo (), After winning several prizes at the Royal own singers and in turn to the establishment artistic excellence are also evident from its Jacopo (I due ), Carlo (Giovanna Academy of Music, the tenor Mark Le Brocq of the Geoffrey Mitchell Choir. Early pioneering education work and community d’Arco), Foresto (), Macduff, the Duke continued his studies at the National Opera recordings resulted in the Choir’s long-term projects, its many award-winning recordings (Rigoletto), Gustavo, , Don Carlos, Studio. He is currently a Company Principal involvement with Opera Rara for which it has and its trail-blazing international tours. Radames, Otello, Rodolfo (La bohème) and at English National Opera where he has sung made over thirty recordings. The Choir is Pinkerton. North American engagements have Boggart (The Fairy Queen), Odoardo enjoying a growing reputation with further David Parry studied with Sergiu Celibidache included The Metropolitan Opera, New York (Ariodante), Don Curzio (The Marriage of work from the BBC and international and began his career as Sir John Pritchard’s (as Alfredo, Radames, Turiddu and Canio Figaro), Don Ottavio, Tamino, Monostatos, recording companies. For Chandos the assistant. He made his debut with English among others), Lyric Opera of Chicago, the Borsa, Cassio (Otello), Remendado (Carmen), Geoffrey Mitchell Choir has participated in Music Theatre, then became a staff conductor San Francisco, San Diego and Vancouver Rodriguez (Massenet’s Don Quixote), numerous recordings in the acclaimed Opera at Städtische Bühnen Dortmund and at Opera Operas, the Philadelphia and Cleveland Nathaniel (The Tales of Hoffmann), Tonik in English series sponsored by the Peter North. He was Music Director of Opera 80 , the Montreal and Ottawa (Smetana’s The Two Widows), Missail (Boris Moores Foundation. from 1983 to 1987 and since 1992 has been Symphony Orchestras and the Cincinnati Godunov), Narraboth (Salome), Paris (King the founding Music Director of Almeida Festival. In Europe he has been a frequent Priam), First Officer (Henze’s The Prince of The London Philharmonic Orchestra has Opera. guest at the Bavarian State Opera in Munich, Homburg) and Doctor Maxwell (Turnage’s exhilarated audiences with performances He works extensively in both opera and where roles have included Manrico and The Silver Tassie) among others. He has featuring world renowned conductors and concert, nationally and internationally. He has Gabriele Adorno (), and has performed as a recital and oratorio soloist in soloists since its foundation in 1932 by Sir conducted several productions at English visited the opera houses of Vienna, Berlin, concert and at festivals throughout Europe, in Thomas Beecham. Principal conductors in the National Opera and appears regularly with the Bonn, Cologne, Hamburg, Paris, Nice, the Middle East and the USA as well as at all years since have included Sir Adrian Boult, Philharmonia Orchestra. In 1996 he made his Zurich, Brussels, Oslo, Barcelona, Oviedo, the major London venues. He has made Sir John Pritchard, Bernard Haitink, Sir Georg debut at the Glyndebourne Festival with Così Verona and Turin. Besides being a several sound and video recordings. Solti, Klaus Tennstedt and Franz Welser-Möst. fan tutte, where in 1998 he conducted the distinguished artist in concert and on Kurt Masur becomes the Orchestra’s new world premiere of Jonathan Dove’s Flight. television, Dennis O’Neill has made numerous Geoffrey Mitchell’s singing career has principal Conductor in September 2000. He is a frequent visitor to Spain where he recordings, including Cavalleria rusticana, encompassed a remarkably wide repertoire Appointed resident orchestra at the Royal has given concerts with most of the major Pagliacci, Tosca, La bohème and a solo recital from early to contemporary music and has Festival Hall from 1992 the London Spanish orchestras. He conducted the Spanish album for Chandos in association with the taken him to Scandinavia, Germany, the Philharmonic Orchestra has also been resident premiere of Peter Grimes in Madrid and in

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1996 the first Spanish production of Moores Foundation. Among these are The Rake’s Progress. He has appeared in numerous discs for the Opera Rara label Germany, Sweden, The Netherlands, at the which have won several awards, including the Pesaro Festival in Italy, the Hong Kong Belgian Prix Cecilia for Donizetti’s Rosmonda International Festival, in Japan with a tour of d’Inghilterra. For Chandos he has conducted Carmen and in Mexico with the UNAM seven recordings of operatic arias (with Bruce Symphony Orchestra. Recent new productions Ford, Diana Montague, Dennis O’Neill, he has conducted include Fidelio at the New Alastair Miles, Yvonne Kenny, John Tomlinson

Zealand Festival, at Theater and Della Jones, the last two to be issued Opera Klotz/The Metropolitan Winnie Basel and Lucia di Lammermoor at New Israeli during 2000 and 2001), as well as Faust, Opera. Don Pasquale, The Elixir of Love, La bohème, His work in the recording studio includes Cavalleria rusticana, Pagliacci, the award- the BBC Television production of Marschner’s winning Tosca and highlights from Der Vampyr and twenty-one complete opera , all in association with the recordings under the sponsorship of the Peter Peter Moores Foundation.

Sharon Sweet as Leonora in the 1990 Metropolitan Opera production of Il trovatore

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PETER MOORES, CBE, DL giving financial support to various young artists, several of whom – , Colin Davis and the late Geraint Evans amongst them – were to become world-famous. In 1964 he Peter Moores was born in Lancashire, the son of Sir John Moores, founder of the giant set aside a substantial part of his inheritance to establish the Peter Moores Foundation, a charity Littlewoods mail order, chain store and football pools group. He was educated at Eton and designed to support those causes dear to his heart: to make music and the arts more accessible Christ Church, Oxford, where he read modern languages – he was already fluent in German to more people; to give encouragement to the young and to improve race relations. and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne Festival Opera before going up to university, and after Oxford he became a production PETER MOORES FOUNDATION student at the , combining this with a three-year course at the Vienna In the field of music, the main areas supported by the Peter Moores Foundation are: Academy of Music and Dramatic Art. the recording of operas from the core repertory sung in English translation; the recording By the end of his third year at the Academy Moores had produced the Vienna premiere of or staging of rare from the era of the early nineteenth century Britten’s The Rape of Lucretia, had worked as Assistant Producer at the San Carlo Opera (repertoire which would otherwise only be accessible to scholars); the nurturing of House, Naples, the Geneva Festival and Rome Opera, and seemed set for a successful operatic promising young opera singers; new operatic work. career. At this point he received a letter from his father asking him to come home as he was The Foundation awards scholarships annually to students and post-graduates for furthering needed in the firm. Family loyalty being paramount, he their vocal studies at the Royal Northern College of Music. In addition, project awards may be returned to Liverpool. given to facilitate language tuition in the appropriate country, attendance at masterclasses or From 1981 to 1983 he was a Governor of the BBC, and a summer courses, specialised repertoire study with an acknowledged expert in the field, or Trustee of the Tate Gallery from 1978 until 1985; from 1988 post-graduate performance training. to 1992 he was a director of Scottish Opera. He received the The Foundation encourages new operatic work by contributing to recordings, the Christina Burton/PMF Gold Medal of the Italian Republic in 1974, an Honorary MA publication of scores and stage productions. from Christ Church, Oxford, in 1975, and was made an Since 1964 the Foundation has supported the recording of more than forty operas, many of Honorary Member of the Royal Northern College of Music in these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy opera 1985. In May 1992 he became Deputy Lieutenant of to the full, there must be no language barrier, particularly for newcomers and particularly in the Lancashire, and in the New Year’s Honours List for 1991, he popular repertoire – hence the Opera in English series launched with Chandos in 1995. This was made a CBE for his charitable services to the Arts. includes many of the English language recordings funded by the Foundation in the 1970s and Whilst still in his early twenties, Peter Moores had started Peter Moores, CBE, DL 1980s and is now the largest recorded collection of operas sung in English.

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leicht vermochte, die fruchtbare seine unfertige Art ebenfalls ein wunderbares Giuseppe Verdi: Il trovatore Erfindungsgabe des Komponisten zu Stück) – nicht ein einziger Takt entfernt inspirieren. Der exzentrische Kritiker und werden könnte, ohne die sorgfältig entwickelte Überlegene Geister – und gelegentlich auch dramatischen Situationen, die sein düsterer Musikwissenschaftler Joseph Kerman, der Struktur dieser Oper zu beschädigen. Hören ich selbst – behaupten, die beiden größten Genius bevorzugte – man denke nur an Il trovatore als “eine großartige Darstellung Sie nur das erstaunliche Ende vom Zweiten Opern Verdis seien seine beiden späten Ernani und Macbeth unter den Vorgängern hemmungslosen Melodrams” und einen Teil mit seiner Wiederholung von Leonoras Meisterwerke Otello und Falstaff, während sie von Il trovatore. Besonders zog ihn die Figur Rückfall in den “schlechten alten Stil” wundervoller Phrase “Bist du aus dem Paradies bei dem berühmten Triptychon der mittleren der Zigeunerin Azucena an mit ihrem bezeichnete, hat sich möglicherweise nicht herabgestiegen” (Have you come down from Schaffensperiode La traviata ihren beiden andauernden seelischen Konflikt zwischen hinreichend intensiv mit der Partitur Paradise/Sei tu dal ciel disceso) anstelle einer noch etwas rohen Vorgängern vorzuziehen mütterlicher und töchterlicher Liebe. Kein auseinandergesetzt. Hätte er dies getan, so förmlichen Stretta, und die Entwicklung in pflegen. Ferner wären der epische Don Carlos, Wunder, daß Verdi mit dem Gedanken spielte, wäre ihm aufgefallen, daß Verdi vordergründig Verdis Technik wird unmittelbar deutlich, wie die magische Verbindung von Leichtigkeit und die Oper nach ihr zu benennen; kein Wunder, zwar den Standardformen der italienischen sich auch in der konzentrierten, Tragödie von Un ballo in maschera und das daß all ihre Partien so besonders originell und Oper des frühen 19. Jahrhunderts folgt, diese ökonomischen Komposition der Schlußszene ausgebreitete Panorama von La forza del inspiriert sind. aber in subtiler und genialer Weise verändert, zeigt, die sicherlich eine der größten im destino zu nennen. Doch irgendetwas an Ein weiterer Grund für Verdis Sympathie um das frei fließende Musikdrama zu schaffen, gesamten Œuvre Verdis ist. Auf rein Il trovatore (Der Troubadour) läßt das Werk als für die Rolle der Azucena lag darin, daß sie durch das Il trovatore sich besonders musikalischer Ebene sind Tonartbeziehungen, einzigartig in Verdis Schaffen erscheinen – ein wie Rigoletto eine Verstoßene, eine auszeichnet. wiederkehrende Motive und Melodielinien Werk, das Julian Budden in seiner Außenseiterin war; von seinem Librettisten, Francis Toye, eminenter Verdianer einer ganz auf die jeweiligen Charaktere umfassenden Studie über Verdis Opern als “in dem Dichter Salvatore Cammarano, verlangte früheren Generation, hat die Meinung zugeschnitten und dienen so unbewußt zur der gesamten Opernliteratur ohne Parallele” er daher ein Libretto, das ihm die von Rigoletto geäußert, dieses Stück sei “Ernani in excelsis” Konzentration von Geist und Ohr des Hörers, bezeichnet. her bekannte Freiheit des musikalischen und “die Apotheose des Guten und Schlechten der sich dieser bezaubernden Oper hingibt. Dieses Urteil bestätigt sich, wann immer Ausdrucks erlauben würde. Er erklärte sogar, je im Frühwerk Verdis”; man muß jedoch nur Ferrandos einleitender Bericht, der man das Stück hört: seine sinnliche Energie, neuartiger und bizarrer die Textvorlage, desto die Partituren der beiden Werke studieren, gelegentlich als struktureller Schwachpunkt endlose Melodik und vorwärts drängende leichter fiele ihm ihre Vertonung. Indem er oder besser noch sie in der Oper oder auf CD gesehen wird, der lediglich dazu diene, die Bewegung fesseln die Fantasie des Hörers sich ein wenig zu eng an die Struktur des hören, um zu entdecken, daß Verdi im Handlung zu erhellen, ist in Wirklichkeit eine immer wieder aufs Neue. Verdi selbst scheint ursprünglichen Schauspiels hielt, mag Trovatore seine Formen gestrafft, die fesselnde Erzählung – wenn man sie nur das Potential von Gutiérrez’ Drama El trovador Cammarano Verdis Erwartungen zwar nicht orchestralen Strukturen verbessert und seine versteht –, die uns unmittelbar in diese als Libretto unmittelbar erkannt zu haben. Das ganz erfüllt haben, als erfahrener Mann des Gesangslinien verfeinert und individualisiert eigenwillige Geschichte verstrickt von Werk bot im Überfluß die Art von Theaters lieferte er jedoch ein Libretto, das es hatte, so daß – im Gegensatz zu Ernani (auf plötzlichem Tod und seinen Konsequenzen

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und von der Rache, die an der auf Abwege – all dies in einem stürmischen Trio. Die Unfähigkeit, seinen Widersacher Luna zu Rezitativstil größter Eloquenz), bevor der Graf geratenen Zigeunerin verübt werden soll. Verdi Positionen der in dieses Liebesdreieck töten; das eröffnende “Als wir kämpften” (As sie zu greifen versucht. Alle sind von Manricos verleiht dieser Szene durch die ständige Verstrickten sind damit in bewundernswerter we struggled/Mal reggendo) ist in seiner mit plötzlichem Auftauchen überrascht, niemand Wiederholung einer Sechzehntelfigur eine Knappheit skizziert, und die Szene für den lyrischer Glut durchsetzten rohen Kraft mehr als Leonora selbst, deren Worte – hypnotische Wirkung. bevorstehenden Konflikt ist bereitet. typisch für alle Auftritte Manricos. Er wird beginnend “Oh, ist es möglich, kann ich Mit dem Palastgarten erreichen wir eine Der von den Zigeunern an einem wilden von seinem Kumpan Ruiz unterbrochen, der glauben” (Oh, can it be, can I believe/E ganz andere Welt, im wörtlichen wie im Ort in den Bergen der Biscaya gesungene ihm mitteilt, daß Leonora ihn für tot hält und deggio e posso crederlo) – anschaulich ihre musikalischen Sinne: eine Welt der “Amboß-Chor” mag vielen Musikfreunden im Begriff steht, in ein Kloster einzutreten. Erleichterung und Freude vermitteln. Das sich romantischen Gedanken und Gefühle, in der durch übermäßigen Gebrauch zu unpassender Dies ist das Stichwort für eine direkte, anschließende Ensemble ist in bestem Leonora sich an eine seltsame Begegnung mit Gelegenheit verleidet sein. Erneut gehört, ungestüme Cabaletta. Concertato-Stil gesetzt, den Verdi mit jeder einem kühnen Ritter erinnert. Mit findet er seine Rechtfertigung in seinen klaren Wir finden uns nun in den Klostergarten Oper mehr beherrschte; jede Figur erhält eine “Schweigend und sanft war die Nacht” (The Aussagen über das Zigeunerleben. Azucena versetzt, wo der verräterische Luna plant, ihrem Gemütszustand entsprechende Phrase, stars shone in the heav’ns above/Tacea la wird durch ihre beiden kontrastierenden Soli Leonora zu entführen. Ihm fällt die einstmals bevor die oben bereits erwähnten Worte der notte), der ersten der herzbewegenden und definiert – das erste, hypnotische, beschwört berühmteste Nummer des Werks zu, “In den Leonora die ekstatischen Gefühle ihrer unvergeßlichen Melodien dieser Oper, schuf die Verbrennung ihrer Mutter und das zweite, Sternen” (In the stars/Il balen), in der er sich Vereinigung mit dem Geliebten zum Ausdruck Verdi ein Lied von strahlender Schönheit, noch welches allein für die Ohren ihres vorgeblichen über Leonoras Reize ausläßt. Diese Arie mit bringen. übertroffen von der sich anschließenden Sohnes Manrico bestimmt ist, enthüllt die ihrem feingewirkten Ausdruck glühender Nach dem kriegerischen Lied der Soldaten Cabaletta, in der Leonora ihrer unsterblichen schreckliche Geschichte ihrer Rache, in der sie Inbrunst, ist in der Tat ein Geschenk für jeden zu Beginn vom Dritten Teil tritt die von Lunas Liebe für den Fremden Ausdruck verleiht. Der unabsichtlich verrät, daß sie ihren eigenen Bariton. In einer feurigen Cabaletta enthüllt Gefolge gefangengenommene Azucena wieder Graf von Luna tritt nun auf, um mit der von Sohn und nicht den des alten Grafen geopfert Luna seinen wahren Charakter – essentieller in den Mittelpunkt des Geschehens und ihm begehrten Leonora zu sprechen, wird hat. In diesen beiden Soli entwickelt Verdi musikalischer Ausdruck der mittleren erzählt ihnen in den klagenden Tönen des jedoch – magischer Moment – von der Stimme durch die Lebhaftigkeit seiner Rhythmen und Schaffensperiode Verdis. bewegenden Solos “Auch wenn mein Leben ihres Geliebten Manrico unterbrochen, der mit Bildlichkeit seiner Textdarstellung Azucenas Die Schlußszene vom Zweiten Teil ist arm war” (Though my life was poor/Giorni romantischen Worten in einer typisch Persönlichkeit in graphischer Detailliertheit. meisterhaft. Zunächst schafft Verdi einen poveri) von ihrer mißlichen Lage. Sie enthüllt Verdischen Kantilene sein untröstliches Herz Manrico, der verständlicherweise von dem fesselnden Kontrast zwischen den jedoch ein bißchen zuviel von ihrer besingt. Für kurze Zeit verwechselt Leonora die soeben Gehörten verwirrt ist, läßt sich von Verwünschungen des Grafen und der sich Vergangenheit und wird von ihren Fängern in beiden Männer miteinander, doch dann Azucena bestätigen, daß er in der Tat ihr Sohn hoch aufschwingenden Melodie des Chors der Ketten gelegt; nun bricht sie in eine erklären sie und Manrico verzückt ihre Liebe, ist. In dem anschließenden Duett erzählt Nonnen. Wir leiden und fühlen mit Leonora, verzweifelte Cabaletta aus, in der sie Manrico während Luna den Briganten öffentlich anklagt Manrico seine eigene Geschichte von seiner als sie Inez Lebewohl sagt (Verdischer um Rettung anruft, während der Graf schon

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bei dem Gedanken an seine doppelte Rache beschreibt; ich teile allerdings nicht seine sich in seiner Rachsucht und Lust unerbittlich der unsterblichen Passage “Anstatt zu leben frohlockt. Auch hier wieder ist Verdis Musik Auffassung, daß diese Passage durch die zeigt. In ihrer extremen Not verspricht sie, sich und seine Braut zu sein” (Rather than live to absolut überzeugend und der vokale und Koloratur beeinträchtigt wird, vielmehr ihm hinzugeben, wenn Manrico freigelassen be his bride/Prima che d’altri vivere) – und rhythmische Kontrapunkt sind der Situation scheint sie die von Leonora zum Ausdruck wird. Während Luna einem Wächter stirbt. Luna schleicht herein, begreift das vollauf angemessen und von bewunderns- gebrachten Emotionen noch zu verstärken. Es Anweisung gibt, dies zu tun, nimmt sie Gift. Geschehene und befiehlt, daß Manrico zur werter Knappheit – so vieles kommt in so folgt das berühmte Miserere. Eine Totenglocke Anschließend singen die beiden die erregte Hinrichtung geführt werde. In diesem kurzer Zeit zum Ausdruck. ertönt, ein Chor bittet in feierlichem Gesang Cabaletta “Er lebt! Vor Glück kann ich nicht Augenblick erhebt sich Azucena und erklärt, In der nächsten Szene kehren wir zu den um Vergebung, Leonora klagt mit in sprechen” (He lives! I cannot speak for daß Luna seinen eigenen Bruder zum Schafott Liebenden zurück. In einem Rezitativ und bewegenden Worten, und aus dem Gefängnis joy/Vivrà! Contende il giubilo). Die Tragödie geschickt habe. Leonora tot zu seinen Füßen, einer Arie verleiht Manrico seinem zugleich betrauert Manrico sein unglückliches Los. nähert sich schnell ihrem Höhepunkt. ruft Luna aus “Und ich lebe noch!” (And I still romantischen und heroischen Charakter Verdi erscheint hier überaus inspiriert, indem Das lange Kerkerduett zwischen Azucena live!/E vivo ancor!). Mit diesem schnellen Ausdruck. Sodann singen er und Leonora ein er ein völlig neues und aufregendes Konzept und Manrico zu Beginn der Schlußszene wird Ende senkt sich der Vorhang über ein exquisites Duett, in dem sie den Plan fassen, entwickelt. von düsteren, mit Todesahnungen erfüllten Opernerlebnis, das nie verblaßt. zu heiraten (man vergleiche einen ähnlichen Die allein zurückgelassene Leonora singt Akkorden eingeleitet. Azucena spricht wie in Moment flüchtigen Glücks für die Liebenden eine herzzerreißende Cabaletta darüber, daß einem nebulösen Traum, während Manrico © 2000 Alan Blyth in Akt II von Ernani), bevor Ruiz ihnen von der Tod die Liebe nicht besiegen kann. Dieses versucht, sie zu trösten; diese Emotionen hält Übersetzung: Stephanie Wollny Azucenas Gefangennahme und den Plänen zu Stück wurde früher ausgelassen, ist aber für ein Verdi in bewegten Passagen fest, die sich dem ihrer Verbrennung auf dem Scheiterhaufen volles Verständnis von Leonoras Charakter wie Hörer zutiefst einprägen. Als Leonora auftritt Die Geschichte hinter “Il trovatore” berichtet. Manrico eilt zu ihrer Rettung, zuvor auch für die Struktur der Szene unabdingbar. und Manrico zur Flucht zu überreden singt er jedoch seine aufpeitschende Cabaletta Sobald sie ihr Herz ausgeschüttet hat, taucht versucht, begreift er, daß sie sich für ihn Das fünfzehnte Jahrhundert “Dies grimmige Inferno” (That fierce plötzlich Luna auf, der sie zunächst nicht sieht kompromittiert hat, weiß jedoch nicht, daß sie Der Held des Schauspiels El trovador von inferno/Di quella pira) – mit ihren hohen und dessen Solo zeigt, daß er nicht weiß, wo Gift genommen hat. Er klagt sie mit heftigen Antonio Garcia Gutiérrez und der Oper Cs eine Herausforderung für jeden Tenor. sie ist. Sie tritt aus dem Schatten hervor und Worten an, doch als ihre Kräfte zu schwinden Il trovatore von Verdi ist eine fiktive Gestalt. Nachdem Manricos Rettungsversuch fleht um Gnade für Manrico, “Sieh meine beginnen, kommt er zur Besinnung. Die Das Gleiche gilt für Leonora, Azucena, ja fehlgeschlagen ist, kommt Leonora zum bitteren Tränen” (See all these bitter tears of rasche Entwicklung des Dramas wird präzise sogar den Grafen von Luna, obwohl dessen Kerker, um herauszufinden, wie sie ihm helfen mine/Mira, di acerbe lagrime), indem sie von Verdi gelenkt, der einem genialen Einfall Name an bedeutende Ereignisse der kann. In einem ausdrucksvollen Adagio “seufzt darum bittet, an seiner Stelle zu sterben: ein folgend an dieser Stelle eine Wiederholung spanischen Geschichte erinnert. sie ihre Seelennot in die Nacht hinaus”, wie es lebhaftes Duett, in dem Leonora verzweifelt an von Azucenas ergreifender Klage einfügt. Das Geschehen der Oper hingegen steht in der Kritiker Ernest Newman treffend Lunas bessere Natur appelliert, während dieser Leonora sagt Manrico ein letztes Lebewohl in eindeutigem historischem Kontext. Leonora ist

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Hofdame der Prinzessin von Aragon und Familie Trastámara eingeheiratet, die von 1368 Adligen und anfangs auch von den Lunas, der drei Provinzen treffen, wird nach wohnt im Königspalast von Aliafería bei bis 1474 das benachbarte Königreich Kastilien Familie des Papstes. neunmonatiger Beratung in Form einer Saragossa. Das Heer des Prinzen von Aragon regiert. Sein älterer Bruder Heinrich, genannt Der Papst bzw. Gegenpapst, denn dies war Stimmenmehrheit zugunsten von Ferdinand wird vom Grafen von Luna befehligt. Manrico der Sieche, ist 1406 gestorben und hat als die Zeit des Großen Schismas, ist Benedikt gefunden. erklärt seine Loyalität mit dem feindlichen Regentin die Königinmutter Katharina von XIII. Der gebürtige Aragoneser, ein arroganter Urgel nimmt das Urteil jedoch nicht an und Heer des Grafen Jaime von Urgel, dessen Lancaster zurückgelassen; Katharina stammt Mann, hieß ursprünglich Pedro de Luna und tritt den Rückzug in die Gascoigne an, um ein Namen Ruiz am Ende des Zweiten Teils von John of Gaunt ab, dem dritten Sohn des war Kardinal von Aragon. Er wurde 1409 als Rebellenheer aufzustellen. Dann marschiert er beschwört (Lang lebe die Freiheit!/Long live englischen Königs Eduard III., der zwischen Papst abgesetzt, hat jedoch den Rücktritt über die Biskaya-Region in das Königreich ein. freedom!/Urgel viva!). Insofern ist die Politik, 1372 und 1386 immer neue Anläufe zu einem abgelehnt und sich schließlich auf die Festung Es ist dieser Bürgerkrieg, vor dessen obwohl sie im Schatten des Dramas steht, imperialistischen Feldzug auf der iberischen Peñiscola zurückgezogen, wo er in prunkvoller Hintergrund sich Il trovatore abspielt. Der durchaus präsent. Halbinsel unternommen hatte. Ferdinands Isolation als der exzentrischste der drei Graf von Luna der Oper ist Befehlshaber von Man schreibt das Jahr 1410, und es geht Kandidatur ist der Unterstützung eines Teils rivalisierenden Päpste Hof hält. Er wird 1417 Ferdinands Heer. Manrico ist einer der um die umstrittene Nachfolge auf dem Thron der Aristokratie und schließlich auch des vom Konstanzer Konzil zum Schismatiker Anführer der Guerillas auf der Seite des von Aragon. Nach zweieinhalb Jahrhunderten Papstes sicher. erklärt, lebt aber noch bis 1423 weiter. Grafen von Urgel. katalanischer Herrschaft hat der Tod des alten Jaime von Urgel dagegen geht mit dem Urgels Anspruch wird ernsthaft geschwächt, Urgels Rebellion wurde schließlich Königs Martin der Hegemonie der Grafen von stärksten Anspruch ins Rennen. Nicht nur ist als seine Anhänger (angeführt von Don niedergeschlagen, und er starb in Barcelona ein Ende gemacht. Sein einziger er mit Martins jüngerer Schwester Isabel Antonio de Luna!) den Erzbischof von Gefangenschaft. Ferdinand wurde der Sohn ist im Jahr zuvor gestorben und hat nur verheiratet, sondern er stammt auch Saragossa ermorden, das Oberhaupt der unumstrittene König von Aragon. Obwohl er einen illegitimen Sohn namens Fadrique väterlicherseits direkt von Martins Großvater aragonesischen Kirche. Daraufhin wird Luna seinen Thron der Unterstützung der Kirche hinterlassen, der ein Favorit des alten Königs ab, dem König Alfons IV. Martin hatte ihm vom Papst exkommuniziert, der seine verdankte, setzte er den aragonesischen war, aber für die Kirche inakzeptabel ist. den Titel Statthalter von Katalonien verliehen, Unterstützung von Urgel auf Ferdinand Gegenpapst Benedikt XIII. bald darauf ab. Davon abgesehen gibt es drei weitere hoch der gewöhnlich dem aragonesischen überträgt. Während seiner kurzen Regierungszeit gestellte Bewerber um den Thron: Thronerben vorbehalten ist. Diese Ernennung Anstelle der traditionellen Königswahl beleidigte er außerdem die Katalanen, indem Luis von Anjou, der Enkel von König Juan, ermöglicht es ihm, ein Heer zu unterhalten, durch die Cortès wird entschieden, einen er sich auf kastilische Berater verließ. Dennoch Martins älterem Bruder und Vorgänger, ist nützt seinem Ansehen als potentieller Ausschuss aus neun Theologen und Juristen erwarb er den Beinamen “der Gerechte”. 1416 noch ein kleines Kind und lebt in Frankreich; Herrscher jedoch wenig: Er ist als Jaime der (drei aus jeder Provinz) zu bilden und löste ihn sein bekannterer Sohn Alfons V. (der er wird “der französische Kandidat” genannt. Elende (El desdichado) bekannt. Seine zwischen den Kandidaten entscheiden zu Großmütige) ab. Aragon und Kastilien wurden Ferdinand von Antequera ist der Sohn von Unterstützung kommt aus seiner Heimat lassen. Der Kompromiss von Caspe, benannt schließlich 1479 vereint, als die beiden Zweige Martins Schwester Leonora. Sie hat in die Katalonien, von vielen der entrechteten nach der Kleinstadt, wo sich die Grenzen der der Familie Trastámara durch die Verbindung

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zwischen Ferdinand II. und Isabella vereint in der Geschichte des spanischen Theaters und schriftlichen Verfassung gezwungen. In krieg begann, als Cavour am 23. April 1859 wurden. zugleich das erste Mal, dass ein Dramatiker Venedig wurde die Republik ausgerufen. Der das Ultimatum Österreichs entgegennahm. Er auf der Bühne erschien, um den Beifall des Papst floh aus Rom. regte sich darüber so auf, dass er nur noch im Das neunzehnte Jahrhundert Publikums entgegenzunehmen. Die Uraufführung von Verdis La battaglia Zimmer herumhüpfen und mit der Depesche Wer Verdi beschuldigt, sich eine komplizierte Der damals dreiundzwanzigjährige di Legnano, seiner wohl unverhohlen wedeln konnte. Schließlich machte er seinen Handlung aufgehalst zu haben, darf dankbar Gutiérrez hatte sich als Freiwilliger zum Dienst politischsten Oper, fand am 27. Januar 1849 aufgestauten Emotionen Luft, indem er das sein, dass er so viel von den historischen in dem Heer gemeldet, das Mendizabel in Rom statt. Weniger als vierzehn Tage später Fenster aufriss und aus vollem Hals Manricos Einzelheiten aus dem fünfzehnten Jahrhundert aufstellte, um die liberale, konstitutionelle wurde Rom zur Republik erklärt. Der “Di quella pira” (Dies grimmige Inferno) sang. ausgelassen hat. Die Kunst schaffte es wie so Monarchie der jungen Königin Isabella II. Triumph der liberalen Bewegung, als deren Bei dieser Gelegenheit ahmte die Geschichte oft, das Leben zu vereinfachen. Verdi erfasste gegen die Ansprüche ihres Onkels, des streng Anhänger Verdi galt, war jedoch nicht von die Kunst nach. instinktiv den dramatischen Konflikt, absolutistischen karlistischen Thron- Dauer. Im Sommer des Jahres wurde die der der historischen Situation innewohnte. prätendenten Don Carlos zu verteidigen. römische Republik niedergeworfen und der © 2000 Nicholas Payne Il trovatore ist nicht das einzige Beispiel in Der Erbfolgekrieg des fünfzehnten Papst von französischen Besatzungstruppen Übersetzung: Anne Steeb/Bernd Müller Verdis Schaffen, dessen erhebliches Jahrhunderts erlangte dadurch für den jungen wieder eingesetzt. Die Österreicher eroberten dramatisches Potential aus dem allmählichen Gutiérrez und sein temperamentvolles die Lombardei und Venetien zurück. In Inhaltsangabe der Oper Hervortreten Spaniens aus dem Mittelalter Publikum eine besondere zeitgenössische Neapel wurde unter dem Schutz Österreichs erwächst. Schon in Ernani hatte er die Epoche Bedeutung. die absolute Herrschaft der Bourbonen Schauplatz der Handlung ist Nordspanien in einhundert Jahre später dargestellt, in der die Und die hatte sie in allgemeinerem Sinn wiedereingeführt. Nur Piemont behielt unter den Provinzen Aragon und Biskaya. feudale Aufteilung des Landes unter der auch für Verdi inmitten der politischen Wirren Viktor Emanuel II. seine demokratische Zwanzig Jahre vor Beginn der Ereignisse starken, zentralisierten Führung von Karl V. Italiens um die Mitte des neunzehnten Verfassung. hatte der alte Graf von Luna zwei kleine aufgehoben wurde. Und später sollte er sich Jahrhunderts. 1848 war das Jahr der Im Jahr 1852 wurde Camillo Benso di Söhne. Als Don Garcia, der jüngere, unter noch einmal der spanischen Geschichte zur Revolutionen, und eine davon war der erste Cavour zum piemontesischen rätselhaften Umständen erkrankt war, geriet Zeit von Karls Sohn Philipp II. zuwenden, um italienische Unabhängigkeitskrieg. Sizilien Ministerpräsidenten ernannt. Er sollte der eine alte Zigeunerin, die man an seiner Wiege seinen Don Carlos zu schaffen. vertrieb die neapolitanische Besatzungsmacht bedeutendste Architekt der italienischen vorgefunden hatte, augenblicklich in Verdacht, Gutiérrez’ Schauspiel hat mehr und erklärte sich zur unabhängigen Einheit werden, und Verdi geizte nicht mit ihn verhext zu haben. Sie wurde Gemeinsamkeiten mit Victor Hugos Hernani Demokratie. Österreichische Truppen wurden Bewunderung für ihn. Cavour forderte Verdi festgenommen und verbrannt. Im Sterben rief als mit Schillers anspruchsvollerem Drama aus der Lombardei und Venetien vertrieben. 1861 auf, sich als Abgeordneter im ersten sie ihre Tochter Azucena dazu auf, Rache zu Don Carlos. Die Uraufführung von El trovador Neapel, die Toskana, der Kirchenstaat und nationalen Parlament zur Wahl zu stellen. üben. Bald darauf verschwand der kleine am 1. März 1836 war ein Erfolg ohnegleichen Piemont wurden zur Niederlegung einer Der zweite italienische Unabhängigkeits- Garcia, und die verkohlten Überreste eines

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Kinderskeletts wurden in der Asche des überzeugt, dass das Gespenst der Zigeunerin Zweiter Teil. Die Zigeunerin Glut des Scheiterhaufens ihrer Mutter Scheiterhaufens der Zigeunerin entdeckt. nach wie vor im Palast umgeht. Als es Szene 1. Ein Lager der Rebellen in den Bergen zu verbrennen, habe jedoch, wahnsinnig Doch der alte Graf war und blieb überzeugt, Mitternacht schlägt, ergreifen sie entsetzt von Biskaya vor Mitleid, Schuldbewusstsein und dass sein jüngerer Sohn überlebt hatte, und die Flucht. Es ist kurz vor Morgengrauen. Eine Schar Entsetzen, stattdessen ihr eigenes Kind verlangte auf dem Totenbett seinem Erben das Zigeuner bereitet sich mit den Gerätschaften ermordet. Versprechen ab, die Suche nach ihm Szene 2. Im Palastgarten des Schmiedehandwerks auf den anstehenden “Wer bin dann ich?” will Manrico wissen. fortzusetzen. Leonora ist auf dem Rückweg zum Palast Arbeitstag vor 10 . “Du bist mein Sohn!” lügt Azucena, ängstlich Seither sind Jahre vergangen; das Land noch spät unterwegs. Sie hofft, den Sobald sie von der kürzlich erfolgten bemüht, ihre hitzige Schilderung abzuändern. befindet sich in Aufruhr. Das Rebellenheer aus unbekannten Ritter zu sehen, in den sie sich Niederlage der Rebellen erfuhr, hat Azucena Als Beweis führt sie ihre mütterliche Fürsorge der Biskaya kämpft gegen die Königstreuen wegen seiner Tapferkeit bei einem vor Manrico ausfindig gemacht, den man für tot für Manrico an, dass sie ihn auf dem unter der Führung des jungen Grafen von Ausbruch des Krieges abgehaltenen Turnier gehalten und auf dem Schlachtfeld Schlachtfeld gerettet und sich um seine Luna. verliebt hat 3 . Sie vertraut Inez an, dass er als zurückgelassen hatte, und ihn gesund gepflegt. Verletzungen gekümmert hat. Sie rügt Troubadour zurückgekehrt sei und klagende Nun sitzt sie verdrossen am Feuer und führt Manrico, weil er seinen Rivalen am Leben Erster Teil. Das Duell Liebeslieder singe, die durch die duftende sich wie im Zwang immer wieder den Tod gelassen hat, nachdem er ihn nachts beim Szene 1. Ein Vorraum im Königspalast von Nachtluft an ihr Ohr gedrungen seien 4 . ihrer Mutter vor Augen 11 . Duell bezwungen hatte, nur um sich in der Aliafería Ohne auf die Warnungen ihrer Freundin zu Nachdem die Zigeuner aufgebrochen sind, nachfolgenden Schlacht von Lunas Soldaten Es ist kurz vor Mitternacht. Die Wachsoldaten achten, schwört sie, ihm treu zu sein bis in verlangt Manrico die ganze tragische verwunden zu lassen. Manrico versucht, zu sind müde. Ferrando ermahnt sie, nach dem den Tod 5 . Geschichte zu hören. Azucena erzählt ihre erklären, dass ihn damals eine innere Stimme unbekannten Troubadour Ausschau zu halten, Der Graf ist entschlossen, Leonora seine Version: dass ihre Mutter von einem bösen habe innehalten lassen, schwört jedoch, seinen dessen Gesang ständig die Nachtwache des Gunst aufzudrängen 6 , wird jedoch vom Grafen zu Unrecht der Hexerei angeklagt Rivalen nicht noch einmal zu verschonen 13 . Grafen unter Leonoras Fenster unterbricht 1 . Klang der Serenade seines unbekannten Rivalen und zu einem grauenhaften Tod verurteilt Ein Bote liefert ein Schreiben ab. Die Damit sie nicht einschlafen, erklärt er sich gestört 7 . Leonora, die im Dunkeln dorthin worden sei 12 . Sie selbst sei damals mit Rebellen haben die Festung Castellor erobert, bereit, zu erzählen, was er über die Ereignisse eilt, wo die Stimme des Geliebten erklingt, ihrem Kind im Arm der Mutter gefolgt und und Manrico soll ihre Verteidigung um Garcias Verschwinden weiß 2 . Er ist läuft dem Grafen in die Arme. Manrico zeigt habe sich durch die dichte Menge gedrängt, übernehmen. In dem Schreiben steht überzeugt, dass die alte Zigeunerin eine böse sich 8 , und der Graf erkennt in ihm einen bis sie nahe genug heran war, um den Fluch ferner, dass Leonora, die ihn tot glaubt, Zauberin war, deren Unschuldsbeteuerungen verurteilten Verräter und Verbündeten des ihrer sterbenden Mutter zu hören (“räche noch am selben Abend ins Kloster gehen Lügen waren, und dass der grausame Rebellen Urgel. Obwohl Leonora protestiert, meinen Tod”), der sie seither verfolge. will. Ohne Rücksicht auf Azucenas Racheakt ihrer Tochter gesühnt werden eilen die beiden eifersüchtigen Rivalen davon, Sie habe das Kind des Grafen aus dem Palast Proteste 14 eilt Manrico fort, um seine muss. Die abergläubischen Männer sind um zu kämpfen 9 . geraubt, um es in der neu entfachten Geliebte zu retten.

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Szene 2. Im Kloster zum heiligen Kreuz in Biskaya-Region und äußert seine Hoffnung, Nacht. Ruiz eskortiert Leonora durch die und Leonora vor seinen Augen stirbt, befiehlt Castellor dass sie etwas über seinen Bruder weiß, Festung und zeigt ihr den Turm, in dem er Manricos sofortige Hinrichtung. Er zerrt Erzürnt über seine unerwiderte Leidenschaft der zwanzig Jahre zuvor geraubt wurde 3 . Manrico gefangen gehalten wird 8 . Sie ist Azucena heran, damit sie als Augenzeugin und in dem Glauben, Manrico sei tot, ist der Erst als Ferrando sie als wahrscheinliche gefasst und zu allem entschlossen 9 . dabei ist. Da offenbart sie endlich die Graf ebenfalls entschlossen, zu verhindern, Mörderin Garcias erkennt und Azucena Während ein feierliches Miserere erklingt 10 , Wahrheit: “Manrico war dein Bruder! Gerächt dass Leonora den Schleier nimmt. Er will sie spontan den abwesenden Manrico aufruft, hört man Manrico ein letztes Lebewohl bist du, o Mutter!” von seinen Gefolgsleuten entführen lassen, seine Mutter zu retten, erkennt der Graf, dass singen. Leonora beschließt, ihn zu retten 11 . damit sie ihm endlich allein gehört 15 – 17 . er durch sie die Macht hat, sich sowohl an der Der Graf erscheint, um die Hinrichtung seiner © 2000 Nicholas Payne Leonora hat sich mit ihrer Trauer Mörderin seines Bruders als auch an seinem beiden Gefangenen zu überwachen 12 , und ist Übersetzung: Anne Steeb/Bernd Müller abgefunden und nimmt Abschied von ihren verhassten Rivalen zu rächen 4 . Man zerrt erstaunt, Leonora vorzufinden. Sie bietet sich Freunden 18 . Sie wird vom Grafen überrascht, Azucena fort, um sie auf dem Scheiterhaufen selbst als Preis für die Freigabe Manricos Alan Opie studierte an der Guildhall School of doch dessen Hinterhalt wird durch das zu verbrennen. an13 . Während der Graf Manricos Entlassung Music and Drama und dem London Opera wundersame Erscheinen Manricos vereitelt 19 . vorbereitet, schluckt sie Gift 14 . Centre. Noch als Student wurde er erster Manricos Anhänger entwaffnen den Grafen, Szene 2. Ein Nebenraum der Klosterkirche in Bariton an der English National Opera, wo er und Manrico entführt Leonora. Castellor Szene 2. Im Gefängnis für mehr als 25 Jahre festes Mitglied des Obwohl die nächste Schlacht bevorsteht, Manrico versucht Azucena zu trösten, die Ensembles war; seit 1996 ist er dort Dritter Teil. Der Sohn der Zigeunerin wollen sich Manrico und Leonora trauen immer noch von Erinnerungen an das regelmäßiger Gast. Zu seinem Repertoire zählen Szene 1. Das Heerlager des Grafen von Luna vor lassen 5 – 6 . Ruiz meldet die Gefangen- Schicksal ihrer Mutter gequält wird, das nun die Titelrollen in Il barbiere di Siviglia, Falstaff den Mauern von Castellor nahme und drohende Hinrichtung Azucenas sie selbst erwartet 15 . Sie weiß, daß sie dem (nominiert für einen Olivier-Preis) und Busonis Die Soldaten des Grafen pflegen vor dem auf dem Scheiterhaufen. Manrico gesteht Tod nahe ist, schläft aber dennoch ein und sowie Don Alfonso, Papageno, Angriff auf den Stützpunkt der Rebellen in Leonora, dass die Frau in Gefahr seine Mutter träumt von den Bergen ihrer Heimat 16 . Doktor Malatesta, Don Carlo (Ernani), Castellor der Ruhe 1 . Ferrando verspricht ihnen ist. Er gibt seine Heiratspläne auf und ruft Leonora kommt, um Manrico mitzuteilen, Germond, Melitone (La forza del destino), Ford, reiche Beute, nachdem sie ihn erobert haben. seine Soldaten, um sofort einen daß es ihm frei steht, augenblicklich zu gehen, Sharpless, Eisenstein, Doktor Falke, der Den Grafen plagt das Wissen, dass sich Leonora Rettungsversuch zu unternehmen 7 . dass sie selbst jedoch bleiben müsse. Erst wirft Spielmann (Humperdincks Die Königskinder), in Begleitung Manricos dort aufhält 2 . er ihr erbittert vor, ihre Liebe verraten zu Valentin, Kowaljow (Schostakowitsch, Die Azucena wird hinter der Front aufgegriffen Vierter Teil. Die Folter haben 17 , doch als das Gift zu wirken beginnt, Nase) und Balstrode (Peter Grimes). Er hatte und unter Spionageverdacht zum Verhör Szene 1. Ein Flügel des Palastes von Aliafería erkennt er das Opfer, das sie um seiner Engagements an allen großen britischen vorgeführt. Anfangs bekundet der Graf Der Rettungsversuch ist fehlgeschlagen. Freiheit willen gebracht hat 18 . Als der Graf Opernhäusern und in ganz Europa (darunter Mitleid mit der armen Zigeunerin aus der Manrico wurde gefangen genommen. Es ist dahinter kommt, dass man ihn getäuscht hat, die Bayerische Staatsoper, die Wiener Staatsoper

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und die Bayreuther Festspiele) sowie in Chicago Monteverdi bis Birtwistle. Sein Debüt feierte er München; es folgten gefeierte Interpretationen Nach ihrer Ausbildung am Royal Northern und New York (Metropolitan Opera). an der Royal Opera, Covent Garden, in der der Leonora (Il trovatore) und Elisabeth College of Music setzte die Sopranistin Helen Außergewöhnliche Erfolge waren seine Auftritte Weltpremiere von Sir Harrison Birtwistles (Tannhäuser) an der Deutschen Oper Berlin Williams ihr Studium bei Gerald Martin als Paolo (Simon Boccanegra), Sharpless, Gawain, seither ist er dort als Colline, Hans während der Saison 1986/87. Daran schlossen Moore in London fort. Ihr Debüt an der Beckmesser (in Bayreuth), Balstrode, der Flotz (Die Meistersinger von Nürnberg) und José sich Auftritte an der Pariser Opéra (Elisabetta Glyndebourne Festival Opera feierte sie 1988 Förster (Das schlaue Füchslein) und in der Castro (La fanciulla del West) aufgetreten. Zu di Valois in Don Carlos), in Wien, Zürich, als Sashka in Osbornes The Electrification of Titelrolle in Luciano Berios Outis (am Teatro seinen zahlreichen Auftritten an der Opera Hamburg und an der Bayerischen Staatsoper in the Soviet Union; später sang sie dort die alla Scala und dem Châtelet théâtre musical). North gehören Antinoo (Il ritorno d’Ulisse in München an. Zu ihren besonders populären Emmie in Albert Herring. 1994 trat sie auf Neben der Rolle des Beckmesser in der mit patria), Wurm (Luisa Miller), Sparafucile, Rollen zählen Norma (Théâtre royal de la dem St. Endellion Festival in Peter Grimes auf. einem Grammy ausgezeichneten Aufnahme der Ferrando (Il trovatore), der Mönch und der Monnaie in Brüssel sowie in Rom, Barcelona, Zu ihren übrigen Rollen zählen Dalinda Meistersinger von Nürnberg unter Leitung von Großinquisitor (Don Carlos), die Titelrolle in Lissabon und Bilbao) und Aida (in der Arena (Ariodante) und Amor (Orfeo ed Euridice) an Sir Georg Solti gehören zu seinen zahlreichen Le nozze di Figaro, der Commendatore, in Verona und 1989 bei ihrem amerikanischen der English National Opera, Yvette Einspielungen Christopher Columbus (ein Sarastro, Biterolf (Tannhäuser), der Arzt Debüt in San Francisco). 1990 hatte sie ihr (La rondine) und zweite Nichte (Peter Grimes, Pasticcio mit Musik von Offenbach) und (Wozzeck), Arkel, Kecal (Die verkaufte Braut), Debüt an der New Yorker Metropolitan auf Tournee in Finnland) an der Royal Opera, Offenbachs Robinson Crusoe für Opera Rara; für Ebn-Hakia (Yolande/Iolanta) und Sir Walter Opera in Il trovatore und ist seither in jeder Covent Garden, Naiade (Ariadne auf Naxos) Chandos hat er Peter Grimes (für den er den Raleigh (Gloriana); außerdem trat er dort in der Saison dorthin zurückgekehrt, unter anderem und erste Dame (Die Zauberflöte) an der Grammy erhielt), Billy Budd, The Rape of britischen Premiere von Verdis auf. in Don Giovanni, Stiffelio, Un ballo in Scottish Opera, Helena (A Midsummer Night’s Lucretia, Martin’s Lie (Menotti), Troilus and An der English National Opera sang er Cadmus maschera, La forza del destino sowie in der Dream) an der Opera North, Ellen in der Cressida (Walton), Krieg und Frieden (Prokofiev) (Semele), Arkel sowie Rollen in Les Contes Titelrolle von Turandot, die sie auch an die Weltpremiere von Hey Persephone! auf dem und, in Verbindung mit der Peter Moores d’Hoffmann, Doktor Faust, Wozzeck und Billy Royal Opera, Covent Garden, die Opéra Aldeburgh und dem Almeida Festival sowie Foundation, Maria Stuarda, Il barbiere di Budd. Zu seinen zahlreichen CD-Einspielungen national de Paris-Bastille, nach Florenz und Flaminia (Haydns Il mondo della luna) an der Siviglia, Rigoletto, Pagliacci und La bohème gehören, für Chandos, Troilus and Cressida in die Verbotene Stadt von Peking geführt hat. Opera Zuid in Holland. Ihr Konzertrepertoire aufgenommen. (Walton), Billy Budd und, in Zusammenarbeit In jüngster Zeit hat sie die Aida an der ist weitgefächert und zu ihren CD-Aufnahmen mit der Peter Moores Foundation, Don Pasquale Metropolitan Opera und Ariadne (Ariadne auf zählt, für Chandos in Verbindung mit der Der Baß Clive Bayley studierte am Royal sowie Highlights aus Boris Godunow. Naxos) mit dem Israel Philharmonic Orchestra Peter Moores Foundation, Donizettis L’elisir Northern College of Music und hat sich gesungen. Im Konzert ist sie mit den d’amore. inzwischen auf den großen Konzertpodien und Sharon Sweet begann ihre internationale weltbesten Musikern aufgetreten, außerdem hat Opernbühnen Großbritanniens und im Karriere als dramatischer Sopran mit einer sie eine Reihe gefeierter CD-Aufnahmen Die Mezzosopranistin Anne Mason wurde in Ausland etabliert; sein Repertoire reicht von konzertanten Aufführung von Aida in gemacht, darunter Falstaff unter Sir Colin Davis. Lincolnshire geboren und studierte an der

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Royal Academy of Music und am National der Alten Musik. Sie ist außerdem eine zählten, und sang zudem an den Maxwell (Turnages The Silver Tassie). Als Opera Studio; ihr professionelles Debüt hatte gefragte Konzertsängerin und hat für Opera Opernhäusern von Wien, Berlin, Bonn, Köln, Kammer- und Oratoriensänger ist er sowohl in sie an der Opera North in der Rolle der Rara unter anderem CD-Aufnahmen von Hamburg, Paris, Nizza, Zürich, Brüssel, Oslo, Konzerten als auch auf Festivals in ganz Fenena (Nabucco) und der zweiten Dame Donizettis Emilia di Liverpool und Mayrs Barcelona, Oviedo, Verona und Turin. Neben Europa, im mittleren Osten und in den USA (Die Zauberflöte). Ihr Debüt an der Royal Medea in Corinto eingespielt. Auftritten in Konzerten und im Fernsehen hat sowie auch in allen großen Londoner Opera, Covent Garden, hatte sie auf einer Dennis O’Neill zahlreiche CD-Einspielungen Konzertreihen aufgetreten. Außerdem hat er Fernost-Tournee in der Rolle der Mercedes Der in Wales als Sohn irischer und walisischer gemacht, darunter Cavalleria rusticana, bei mehreren CD- und Videoaufnahmen (Carmen); seither hat sie an diesem Haus Eltern geborene Dennis O’Neill ist einer der Pagliacci, Tosca, La bohème und ein Solo- mitgewirkt. zahlreiche Rollen gesungen, darunter weltweit führenden Tenöre und ein Spezialist Recital-Album für Chandos in Marcellina (Le nozze di Figaro), Annius für die Werke Verdis. Er arbeitet eng Zusammenarbeit mit der Peter Moores Geoffrey Mitchells Gesangskarriere hat ihm (La clemenza di Tito), Enrichetta (I puritani), zusammen mit der Welsh National Opera Foundation. In der Neujahrs-Ehrenliste 2000 ein bemerkenswert breitgefächertes Repertoire Emilia (Otello), Suzuki, Wellgunde (Das sowie mit der Royal Opera, Covent Garden, wurde er mit dem CBE ausgezeichnet. von der alten bis zur neuen Musik beschert Rheingold und Götterdämmerung), Waltraute wo er unter anderem den Edgardo (Lucia di und ihn nach Skandinavien, Deutschland, in (Die Walküre), Annina (Der Rosenkavalier) und Lammermoor), Jacopo (), Carlo Der Tenor Mark Le Brocq studierte am die ehemalige Tschechoslowakei, nach Kanada Guinevere (Sir Harrison Birtwistles Gawain). (Giovanna d’Arco), Foresto (Attila), Macduff, National Opera Studio, nachdem er bereits und Australasien geführt. Nachdem er bei der Weitere Auftritte führten sie an die Welsh den Grafen (Rigoletto), Gustavo, Aroldo, Don mehrere Preise an der Royal Academy of BBC erste Dirigiererfahrungen gesammelt National Opera (Dorabella), die English Carlos, Radames, Otello, Rodolfo (La bohème) Music gewonnen hatte. Gegenwärtig ist er hatte, begann er mit eigenen Sängern zu National Opera (Marcellina und Dorabella), und Pinkerton sang. Nordamerikanische Erstes Ensemblemitglied an der English arbeiten und gründete den Geoffrey Mitchell die Scottish Opera (Cornelia in Giulio Cesare, Engagements führten ihn an die Metropolitan National Opera, wo er unter anderem Choir. Aus ersten Aufnahmen entwickelte sich Sextus in La clemenza di Tito und Adalgisa in Opera in New York (unter anderem als folgende Rollen gesungen hat: Boggart eine langfristige Zusammenarbeit des Chors Norma), auf das Glyndebourne Festival und Alfredo, Radames, Turiddu und Canio), an die (The Fairy Queen), Odoardo (Ariodante), Don mit Opera Rara, für die er über dreißig Touring Operas sowie in die BBC Promenade Lyric Opera of Chicago, die Opern von San Curzio (Le nozze di Figaro), Don Ottavio, Tonträger aufgenommen hat. Der Chor Concerts. Im Ausland sang sie an De Francisco, San Diego und Vancouver, das Tamino, Monostatos, Borsa, Cassio (Otello), genießt wachsendes Ansehen und ist bei der Nederlandse Opera (Suzuki), der Oper in Philadelphia und das Cleveland Orchestra, die Remendado (Carmen), Rodriguez (Massenets BBC und internationalen Plattenfirmen Madrid, der Semperoper in Dresden (Penelope Sinfonieorchester von Montreal und Ottawa ), Nathaniel (Les Contes gefragt. Für Chandos hat der Geoffrey in Il ritorno d’Ulisse in patria), in Batignano sowie das Cincinnati Festival. In Europa war d’Hoffmann), Tonik (Smetanas Die beiden Mitchell Choir an zahlreichen Aufnahmen der (Penelope), am Theater Basel (die Titelrolle in er häufiger Gast an der Bayerischen Staatsoper Witwen), Missail (Boris Godunow), Narraboth hervorragend kritisierten Reihe Opera in Giulio Cesare) sowie auf dem Festival von in München, wo Manrico und Gabriele (Salome), Paris (King Priam), Erster Offizier English unter der Schirmherrschaft der Peter Aix-en-Provence und dem Innsbrucker Festival Adorno (Simon Boccanegra) zu seinen Rollen (Henzes Der Prinz von Homburg) und Doctor Moores Foundation teilgenommen.

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Seit seiner Gründung im Jahre 1932 durch Musikdirektor der Opera 80 und seit 1992 Seine Tätigkeit im Aufnahmestudio umfaßt mit Opernarien geleitet (mit Bruce Ford, Sir Thomas Beecham hat das London Gründungsmitglied und Direktor der Almeida die Produktion von Marschners Der Vampyr Diana Montague, Dennis O’Neill, Alastair Philharmonic Orchestra sein Publikum mit Opera. fürs BBC-Fernsehen und einundzwanzig Miles, Yvonne Kenny, John Tomlinson Aufführungen berühmter Solisten und unter Er übt in Großbritannien und international vollständige Opernaufzeichnungen unter der und Della Jones – die zwei letztgenannten bekannten Dirigenten begeistert. Zu den eine weitgespannte Tätigkeit in den Bereichen Schirmherrschaft der Peter Moores kommen im Jahr 2000 und 2001 heraus), Chefdirigenten zählten unter anderem Oper und Konzert aus, hat mehrere Foundation. Darunter befinden sich zahlreiche außerdem Faust, Don Pasquale, L’elisir Sir Adrian Boult, Sir John Pritchard, Bernard Produktionen der English National Opera Aufnahmen des Labels Opera Rara, die d’amore, La bohème, Cavalleria rusticana, Haitink, Sir Georg Solti, Klaus Tennstedt und dirigiert und tritt regelmäßig mit dem mehrere Preise gewonnen haben, beispielsweise Pagliacci, die preisgekrönte Tosca und Franz Welser-Möst. Neuer Chefdirigent wird Philharmonia Orchestra auf. 1996 gab er sein den belgischen Prix Cecilia für Donizettis Highlights aus dem Rosenkavalier, jeweils in im September 2000 Kurt Masur. 1992 wurde Debüt beim Glyndebourne Festival mit Così Rosmonda d’Inghilterra. Für Chandos hat er Zusammen-arbeit mit der Peter Moores das London Philharmonic Orchestra fan tutte und hat dort 1998 die Uraufführung die Aufzeichnung von sieben Programmen Foundation. Hausorchester an der Royal Festival Hall, von Jonathan Doves Flight geleitet. daneben ist es seit 35 Jahren auch ständiges Er ist häufig in Spanien zu Gast und hat Sinfonieorchester der Glyndebourne Festival mit den meisten bedeutenden spanischen Opera. Die Vielseitigkeit und der exzellente Orchestern Konzerte gegeben. In Madrid hat Ruf des Orchesters zeigen sich zudem in er die spanische Erstaufführung von Peter seiner innovativen pädagogischen Arbeit und Grimes dirigiert, und 1996 die erste spanische seinen öffentlichen Projekten, in seinen Inszenierung von The Rake’s Progress. Er ist in zahlreichen preisgekrönten Aufnahmen und Deutschland, Schweden und den seinen bahnbrechenden internationalen Niederlanden aufgetreten, bei den Festspielen Tourneen. in Pesaro, beim Hong Kong International Festival, in Japan anläßlich einer Carmen- David Parry hat bei Sergiu Celibidache Tournee und in Mexiko mit dem UNAM studiert und seine berufliche Laufbahn als Symphony Orchestra. Zu den Assistent von Sir John Pritchard begonnen. Er Neuproduktionen, die er in letzter Zeit hat am English Music Theatre debütiert und dirigiert hat, zählen Fidelio beim New Zealand wurde dann Dirigent mit Festvertrag an den Festival, Maria Stuarda am Stadttheater Basel Städtischen Bühnen Dortmund und an der und Lucia di Lammermoor an der New Israeli Opera North. Von 1983 bis 1987 war er Opera.

46 47 CHAN 3036 BOOK.qxd 22/8/07 3:15 pm Page 48 Richard H. Smith Richard H. Smith Richard

Alan Opie and Dennis O’Neill during the recording sessions Clive Bayley and Helen Williams during the recording sessions

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fertile. L’excentrique musicologue et critique, affinée avec soin. L’étonnant épisode conclusif Giuseppe Verdi: Il trovatore Joseph Kerman, n’avait sans doute pas pris le de la Deuxième Partie qui se termine par une temps d’étudier la partition en détail lorsqu’il répétition de cette merveilleuse phrase de Les âmes sensibles, et j’en suis parfois, parmi les œuvres antérieures à Il trovatore, déclara que Il trovatore était “une magnifique Leonora, “Descends-tu du ciel” (Have you prétendent que c’est, bien sûr, dans Otello et Ernani et Macbeth sont des exemples. Le démonstration de mélodrame peu scrupuleux” come down from Paradise/Sei tu dal ciel Falstaff, ses derniers chefs-d’œuvre, que Verdi personnage de la gitane Azucena et le conflit et représentait une régression, un retour au disceso), plutôt que par une strette formelle, atteignit le sommet de son art. Et parmi les perpétuel qui se joue en elle, entre l’amour “médiocre style ancien”. S’il l’avait examinée tout comme, bien sûr, la composition de la trois opéras écrits à mi-chemin de sa carrière maternel et l’amour filial, lui plaisaient tout de plus près, il aurait découvert que, si Verdi se scène finale, très dense, très compacte – l’une de compositeur, La traviata surpasse les deux particulièrement. Que Verdi ait pensé conformait superficiellement aux formes des plus belles chez Verdi –, témoignent des opéras qui précèdent et qui n’atteignent pas le reprendre son nom comme titre de l’opéra ne conventionnelles de l’opéra du début du dix- progrès de sa technique. Et en termes même degré de perfection. Puis il y a l’opéra nous surprendra point, pas plus que neuvième siècle en Italie, il les métamorphosait purement musicaux, les relations entre les épique Don Carlos, l’amalgame magique de l’originalité, la richesse de l’inspiration du subtilement, ingénieusement, pour créer cette tonalités, la récurrence des motifs et les légèreté et de tragédie de Un ballo in maschera compositeur dans la partie musicale réservée fluidité musicale qui représente l’un des mélodies qui épousent parfaitement les traits et les horizons sans fin de La forza del destino. à la gitane. attraits majeurs de Il trovatore. des différents caractères, par exemple, Mais quelque chose dans Il trovatore Azucena plaisait aussi à Verdi parce que, Comme le précise Francis Toye, éminent séduisent inconsciemment l’esprit et l’oreille (Le Trouvère) l’auréole de cette séduction tout comme Rigoletto, elle était une misérable, spécialiste de Verdi de la génération de l’auditeur qui découvre cet opéra captivant. unique dans l’œuvre de Verdi. Julien Budden, une marginale. C’est pourquoi il demanda à précédente, cette œuvre peut être qualifiée de La Narration de Ferrando, au tout début, dans une étude très complète des opéras, le son librettiste, le poète Salvatore Cammarano, “Ernani in excelsis” ou d’“apothéose du bon et parfois considérée comme un passage faible présente comme “sans égal dans l’ensemble de un texte lui laissant une entière liberté du médiocre à la fois, chez Verdi à ses débuts”. qui a pour seul but d’élucider l’intrigue est en la littérature opératique”. d’expression, comme dans Rigoletto. En effet, Mais en examinant les deux partitions, ou fait un récit fascinant lorsqu’il est bien Son verdict est confirmé lorsqu’on entend la lorsque Verdi recevait un texte poétique à mieux encore, en assistant à l’exécution de compris. Elle nous introduit d’emblée au cœur pièce: l’énergie primaire qui l’anime, cette mettre en musique, plus il était étrange, plus il l’œuvre ou en l’écoutant sur disque, on de l’étrange histoire d’une mort accidentelle et mélodie sans fin, son dynamisme réveillent était heureux, disait-il. Cammarano qui eut s’aperçoit que dans Il trovatore, Verdi a ajusté de ses conséquences, et de la vengeance dont la l’imagination à chaque audition. Verdi lui- trop tendance à suivre la structure de la pièce les formes, amélioré les textures orchestrales, gitane errante doit faire l’objet. La scène nous même semble avoir été captivé sur-le-champ originale n’a peut-être pas répondu tout à fait ciselé et varié les lignes vocales, si bien que, hypnotise par l’insistante répétition d’un motif par les possibilités que le drame de Gutiérrez aux exigences du compositeur, mais son contrairement à Ernani (pièce magnifique à sa de doubles croches. El trovador lui ouvrirait comme livret d’opéra. expérience d’homme de théâtre lui permit manière propre, en quelque sorte Dans les jardins du palais, nous sommes Il offrait en abondance les moments forts dans néanmoins de remettre à Verdi un livret qui rudimentaire), pas une mesure ne peut dans un univers différent, littéralement et lesquels son sombre génie se révélait et dont, enflamma instantanément son imagination vraiment être retirée sans nuire à sa structure musicalement, un univers imprégné de

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romantisme et d’amour: Leonora évoque la qu’elle chante. Le premier, fascinant, évoque cadeau pour tout baryton, car il est début de la Troisième Partie, Azucena capturée singulière rencontre d’un valeureux chevalier. comment sa mère fut brûlée et le second, l’expression d’une ardeur fervente formulée en par les partisans de Luna se trouve à nouveau Dans “Les étoiles brillaient au firmament” destiné à n’être entendu que par Manrico, son termes délicats. Le comte révèle sa nature le point de mire. Elle se lamente et leur conte (The stars shone in the heav’ns above/Tacea fils présumé, conte la terrifiante histoire de sa profonde dans une cabaletta enflammée qui est avec émotion l’histoire de sa vie “Bien que la notte), la première des inoubliables et propre vengeance dans laquelle elle révèle par réellement la quintessence de l’art de Verdi à mon existence ait été misérable” (Though my déchirantes mélodies de cet opéra, Verdi nous inadvertance que c’est son propre fils et non l’époque de sa maturité. life was poor/Giorni poveri), évoquant le offre un chant d’une éclatante beauté, lui- celui du vieux comte qu’elle avait sacrifié. La La scène finale de la Deuxième Partie est drame qu’elle traverse. Elle leur révèle son même couronné d’une cabaletta dans laquelle vigueur rythmique et le texte finement ciselé magistrale. Tout d’abord, Verdi oppose de passé un peu trop en détail et se fait ligoter. A Leonora exprime son impérissable amour pour de ces deux solos illustrent le personnage manière saisissante les imprécations du comte ce moment, elle se lance dans une cabaletta l’étranger. Le comte de Luna entre pour avoir d’Azucena. à la mélodie éthérée du chœur des religieuses. désespérée et appelle Manrico à l’aide tandis une conversation intime avec Leonora qu’il Manrico, bien sûr perturbé par ce qu’il vient Nous souffrons et compatissons à la peine de que le comte nourrit un double projet de convoite, mais il est interrompu – moment d’entendre, cherche à obtenir confirmation de Leonora tandis qu’elle fait ses adieux à Inez vengeance. Verdi est une fois de plus sublime: magique – par la voix de son amant, Manrico, sa filiation maternelle et Azucena le rassure. (un récitatif verdien des plus éloquents) peu le contrepoint vocal et rythmique reflète la qui chante, avec romantisme, son affliction: Dans le duo qui suit, Manrico donne sa avant que le comte tente de se saisir d’elle. situation avec perfection et une concision une cantilène typique de Verdi. Leonora les version de son incapacité à tuer son ennemi L’apparition soudaine de Manrico provoque admirable, car en quelques instants filtre un confond un instant, puis les amants s’avouent Luna. Ses premières paroles, “Tandis que nous l’étonnement de tous, et plus encore de message infiniment dense. leur amour en termes enchanteurs, tandis que luttions” (As we struggled/Mal reggendo), Leonora dont les premières paroles, “Oh, Les amants réapparaissent dans la scène Luna dénonce le brigand: un trio impétueux. sont typiques de toute sa partie musicale: sa est-ce possible, puis-je y croire” (Oh, can it be, suivante. Un récitatif et un aria permettent à Les contours du triangle amoureux sont véhémence est tempérée par un ardent lyrisme. can I believe/E deggio e posso crederlo), Manrico de révéler sa nature romantique et admirablement esquissés et le décor est planté Manrico est interrompu par son ami Ruiz qui illustrent son soulagement et sa joie. Cet héroïque à la fois. Puis, avec Leonora, il chante pour les conflits qui s’ensuivront. lui dit que Leonora le croit mort et est sur le ensemble est un concertato de la meilleure un duo exquis qui témoigne de leur intention Le “chœur d’Anvil” chanté par les gitans point d’entrer au couvent. Ceci est l’amorce veine chez Verdi qui se montrait de plus en de se marier (un même moment d’éphémère dans un endroit sauvage sur les hauteurs du d’une cabaletta fougueuse, impétueuse. plus expert et audacieux en la matière dans ses félicité est vécu par les amants dans l’acte II golfe de Biscaye peut sembler quelque peu Nous voilà dans le jardin du couvent où opéras: chaque caractère se voit attribuer une d’Ernani). Ruiz annonce alors qu’Azucena a usé pour avoir été trop entendu dans des Luna, rusé, projette d’enlever Leonora. Il partie vocale appropriée à son état d’âme et été capturée et qu’elle sera brûlée vive. circonstances peu appropriées, mais quand on chante l’air qui, à une certaine époque, fut le ceci, peu avant le moment où Leonora Manrico se précipite à son secours, mais le réécoute, le simple récit de la vie des gitans plus célèbre de l’opéra, “Dans les étoiles” (In exprime l’extase d’avoir retrouvé l’être aimé, seulement après avoir chanté une vibrante est sa propre justification. Le profil d’Azucena the stars/Il balen), dans lequel il disserte sur dans les termes précités. cabaletta “Cet enfer féroce” (That fierce est esquissé dans les deux solos, très contrastés, les charmes de Leonora. Cet air est un vrai Après le chœur des soldats en marche, au inferno/Di quella pira), avec ce contre-ut très

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élevé qui, toujours, met à l’épreuve les talents mine/Mira, di acerbe lagrime), et demande amant en ces termes: “Plutôt que vivre pour d’honneur de la princesse d’Aragon et vit au du ténor. d’être sacrifiée à sa place. C’est un duo ardent: être son épouse” (Rather than live to be his palais royal d’Aliafería près de Saragosse. A la Comme Manrico a échoué dans sa mission, Leonora fait désespérément appel aux bons bride/Prima che d’altri vivere) qui, d’émoi, tête de l’armée du prince d’Aragon se trouve le Leonora se rend au donjon pour voir ce qu’elle sentiments de Luna, implacable dans son désir vous font succomber, ce qui sera effectivement comte de Luna. Manrico se déclare fidèle aux peut faire pour le sauver. Dans un Adagio de vengeance et sa convoitise. In extremis, elle son sort. Et ainsi en sera-t-il. Luna se faufile forces opposées du comte Jaime d’Urgel, dont expressif “elle laisse s’épancher son âme dans la lui promet de se donner à lui si Manrico est dans la pièce, apprend la vérité et ordonne que le nom est évoqué par Ruiz à la fin de la nuit”, selon les termes très évocateurs du libéré. Tandis que le comte donne des ordres Manrico soit conduit à l’échafaud. C’est à ce Deuxième Partie (Vive la liberté!/Long live critique Ernest Newman dont je conteste l’avis en ce sens à l’un de ses gardes, elle avale un moment seulement qu’Azucena se dresse et freedom!/Urgel viva!). Bref, même dans lorsqu’il estime que le coloratur la dessert. En poison. Puis ils entonnent une fiévreuse déclare que Luna a fait exécuter son propre l’ombre du drame, la politique reste effet, il semble rehausser plutôt les émotions cabaletta: “Il est vivant! Je ne peux exprimer frère. Le comte s’exclame, avec Leonora étendue néanmoins présente. qu’expriment Leonora. Suit le célèbre ma joie” (He lives! I cannot speak for à ses pieds, “Et moi, je vis encore!” (And I still Nous sommes en 1410, au cœur de la lutte Miserere. On entend alors sonner le glas et un joy/Vivrà! Contende il giubilo). L’effroyable live!/E vivo ancor!). Avec ce rapide dénouement pour la succession du trône d’Aragon. Après chœur implorer la clémence en un chant tragédie atteint son paroxysme. tombe le rideau au terme d’une expérience deux siècles et demi de domination catalane, la solennel. Leonora se lamente avec émotion et Le long duo du donjon chanté par Azucena dramatique qui jamais ne s’émousse. mort du roi Martin l’Humain avait mis fin à de sa prison, Manrico pleure sur son sort et Manrico, au début de la scène finale, est l’hégémonie des comtes de Barcelone. Son fils malheureux. Verdi est ici au sommet de son précédé d’accords sombres, annonciateurs de © 2000 Alan Blyth unique s’était éteint un an plus tôt, laissant inspiration et nous offre une approche du mort. Azucena parle comme en un rêve Traduction: Marie-Françoise de Meeûs seulement un petit-fils illégitime, Fadrique, drame entièrement neuve et passionnante. nébuleux, Manrico tente de la réconforter et que le vieux roi aurait volontiers choisi pour Restée seule, Leonora chante une cabaletta Verdi capte leurs sentiments respectifs en des Le Contexte historique d’“Il trovatore” successeur, mais que l’église rejetait sans déchirante. La Mort ne peut tuer l’Amour, termes qui se gravent dans la mémoire de équivoque. Il y avait trois autres prétendants dit-elle. Cet air a parfois été omis alors qu’il l’auditeur. Quand Leonora entre et implore Le quinzième siècle importants au trône. est essentiel à la parfaite compréhension de Manrico de fuir, il se rend compte qu’elle s’est Le trouvère, héros de la pièce de Gutiérrez Louis d’Anjou était le petit-fils du roi Juan, l’attitude de Leonora et de la structure de la compromise pour le sauver, mais il ne sait pas El trovador et de l’opéra de Verdi Il trovatore, frère aîné et prédécesseur du roi Martin, mais scène. A peine s’est-elle épanchée qu’elle est qu’elle a pris du poison. Il la dénonce en termes est pure fiction. Tout comme Leonora, il était encore enfant et vivait en France: il confrontée à Luna. Il ne la voit pas, tout virulents, mais peu à peu, tandis qu’elle Azucena et même le comte de Luna, bien que devint le “prétendant français”. d’abord, et soliloque, ne sachant où elle se chancelle, il revient à la raison. L’accélération du ce nom évoque certains grands moments de Ferdinand d’Antequera était le fils de trouve. Leonora émerge de l’ombre, implore drame est rigoureusement contrôlée par Verdi l’histoire de l’Espagne. Leonora, la sœur de Martin. Elle s’était alliée en encore la clémence pour Manrico, “Voyez mes qui répète – un trait de génie – la poignante Mais l’action de l’opéra se déroule dans un mariage aux Trastamare qui régnèrent sur le larmes amères” (See all these bitter tears of lamentation d’Azucena. Leonora dit adieu à son contexte historique. Leonora est dame royaume voisin de Castille de 1368 à 1474. Le

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frère aîné de Ferdinand, Henri le Souffrant, il régna dans un splendide isolement, le plus La rébellion d’Urgel fut réprimée et ce féodales sous l’autorité puissante et centralisée était mort en 1406, laissant la régence à la excentrique des trois papes rivaux. Le Concile dernier mourut en captivité. Ferdinand devint de Charles Quint. Plus tard il retrouverait reine-mère Catherine de Lancastre, descendante de Constance le déclara schismatique en 1417, le roi incontesté d’Aragon. Malgré le rôle de l’histoire espagnole pour Don Carlos, situé de Jean de Gand, dont la campagne impérialiste mais Benoît continua son règne jusqu’à sa l’église dans son élection au trône, il n’hésita durant le règne du fils de Charles Quint, dans la Péninsule avait duré par intermittence mort en 1423. pas à désavouer Benoît XIII, l’antipape Philippe II. de 1372 à 1386. Ferdinand avait le soutien La cause d’Urgel subit un sérieux aragonais. Durant son court règne, il offensa La pièce de Gutiérrez est plus proche d’une partie de la noblesse et le pape finit aussi contretemps lorsque ses partisans (avec, à leur aussi les Catalans en s’appuyant sur des d’Hernani de Victor Hugo que du drame fort par se rallier à sa cause. tête, don Antonio de Luna!) assasinèrent conseillers castillans. Il acquit néanmoins le complexe de Schiller, Don Carlos. La première Mais Jaime d’Urgel était certainement le l’archevêque de Saragosse, chef de l’église nom de Ferdinand le Juste. En 1416, son fils d’El trovador, le 1er mars 1836, fut un prétendant le plus sérieux. Non seulement il aragonaise. Le pape excommunia Antonio Alphonse V le Magnanime lui succéda. triomphe sans précédent dans l’histoire du était marié à Isabelle, la sœur cadette de Martin, de Luna et abandonna Urgel au profit de L’Aragon et la Castille furent réunies en 1479 théâtre espagnol; à cette occasion, et pour la mais il descendait directement du grand-père de Ferdinand. par le mariage de Ferdinand le Catholique et toute première fois, un auteur monta sur scène Martin, le roi Alphonse IV. Martin avait Plutôt que de confier l’élection aux Cortès Isabelle qui scella l’union des deux branches pour recevoir les acclamations enthousiastes du nommé Jaime d’Urgel Lieutenant de Catalogne, selon la tradition, une commission de neuf des Trastamare. public. un titre habituellement réservé à l’héritier du théologiens et juristes, trois de chaque province, A l’époque, Gutiérrez n’avait que vingt-trois trône d’Aragon. Si cette nomination lui permit fut mise sur pied pour choisir l’un des Le dix-neuvième siècle ans et il s’était engagé comme volontaire dans d’avoir une armée, elle n’aida guère à sa candidats. Il fallut neuf mois pour aboutir au Que ceux qui accusent Verdi d’avoir accepté l’armée levée par Mendizabel pour défendre la réputation de gouvernant: il devint connu sous Compromis de Caspe, du nom de la petite ville une intrigue complexe s’estiment heureux: le monarchie constitutionnelle libérale de la le nom de Jaime l’Infortuné (El desdichado). Il à la croisée des trois provinces, compromis par compositeur laissa de côté bon nombre jeune reine Isabelle II contre son oncle don bénéficiait de l’appui de sa Catalogne natale, de lequel Ferdinand fut élu à la majorité. d’éléments historiques du quinzième siècle. Carlos, un absolutiste intransigeant qui nombreux nobles dépossédés et au départ des Urgel refusa ce verdict et se réfugia en L’art, une fois de plus, sut simplifier la réalité. prétendait au trône. Ainsi la guerre civile du Luna, la famille du pape. Gascogne pour rassembler ses troupes et D’instinct, Verdi perçut le conflit dramatique quinzième siècle devint un symbole lourd de Le pape, ou plutôt l’antipape puisque nous préparer une rébellion. Puis il envahit le inhérent à cette situation historique. En fait, sens pour le jeune Gutiérrez et son public sommes à l’époque du grand schisme royaume en passant par la Biscaye. C’est cette cette période de l’histoire espagnole durant passionné. d’Occident, était Benoît XIII. Aragonais de guerre civile qui sert de toile de fond à laquelle le pays émergea lentement du Moyen- Et, par extension, cette guerre civile devint naissance et arrogant de nature, Benoît XIII, Il trovatore. Dans l’opéra, le comte de Luna est Age recèle un tel potentiel dramatique qu’elle lourde de sens pour Verdi en ce milieu de ou Pedro de Luna, avait été cardinal d’Aragon. commandant en chef de l’armée de Ferdinand. inspira Verdi à plus d’une . Déjà dans siècle, à une époque où l’Italie connaissait une Il fut déposé en 1409, mais refusa d’abdiquer Manrico est un chef de guérilla, partisan du Ernani il avait choisi pour toile de fond le forte agitation politique. 1848 fut l’année des et se réfugia dans la forteresse de Peñiscola où comte d’Urgel. seizième siècle et la réunification des divisions Révolutions, entre autres de la première guerre

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d’indépendance italienne. La Sicile expulsa les La seconde guerre d’indépendance italienne de la gitane. Mais convaincu que son jeune fils palais dans l’espoir de voir le chevalier inconnu troupes napolitaines et se proclama démocratie commença lorsque Cavour reçut un était encore en vie, le vieux comte, sur son lit si courageux dont elle s’est éprise lors d’un indépendante. Les troupes autrichiennes furent ultimatum de l’Autriche le 23 avril 1859. Son de mort, demanda à son héritier de poursuivre tournoi peu avant que n’éclate la guerre civile 3 . expulsées de Lombardie et de Vénétie. Naples, excitation était telle qu’il ne put s’empêcher de ses recherches. Elle raconte à Inès comment il est revenu sous la Toscane, les Etats pontificaux et le Piémont danser en long et en large en agitant la Les années ont passé; le pays est en proie à les traits d’un trouvère chantant de langoureuses furent contraints d’accorder des constitutions dépêche. Pour épancher ce trop-plein la guerre civile. Les forces rebelles de Biscaye chansons d’amour qui flottent vers elle dans écrites. Venise devint une république. Le pape émotionnel, il ouvrit grand la fenêtre et sont alignées contre les troupes royalistes l’air parfumé de la nuit 4 . Son amie tente de la s’enfuit à Rome. chanta à tue-tête et à pleins poumons l’air de dirigées par le jeune comte de Luna. mettre en garde mais elle jure de lui rester La battaglia di Legnano de Verdi, son opéra Manrico, “Di quella pira” (Cet enfer féroce). fidèle, même si elle doit en mourir 5 . sans doute le plus ouvertement politique, fut Ce jour-là, ce fut l’histoire qui imita l’art. Première Partie. Le duel Le comte est bien décidé à prendre Leonora créé à Rome le 27 janvier 1849. Moins de Scène 1. Un vestibule du palais royal d’Aliafería de force 6 , mais il est dérangé par la sérénade deux semaines plus tard, Rome devenait une © 2000 Nicholas Payne Il est presque minuit. Les soldats de la garde de son rival inconnu 7 . S’élançant dans la république. Mais le triomphe des libéraux, Traduction: Nicole Valencia sont las. Le capitaine Ferrando leur conseille nuit vers la voix de celui qu’elle aime, Leonora auxquels Verdi s’identifiait, fut de courte de rester à l’affût du trouvère inconnu dont le tombe par erreur dans les bras du comte. durée. Cet été-là, la république romaine fut L’Argument de l’opéra chant interrompt chaque nuit le comte qui Manrico apparaît 8 , et le comte reconnaît en écrasée et le pape restauré par les troupes veille sous les fenêtres de Leonora 1 . Pour lui un traître allié à la cause du rebelle Urgel. françaises. Les Autrichiens reconquirent la L’action se passe dans le nord de l’Espagne, qu’ils ne s’endorment pas, il accepte de leur Malgré les protestations de Leonora, les deux Lombardie et la Vénétie. L’absolutisme des dans les provinces d’Aragon et de Biscaye. raconter sa version de l’histoire de la rivaux jaloux vont sur-le-champ se battre en Bourbon fut rétabli à Naples sous protectorat Vingt ans plus tôt, le vieux comte de Luna disparition de Garzia 2 . Il est persuadé que la duel 9 . autrichien. Seul le Piémont conserva une avait deux jeunes fils. Lorsque le plus jeune vieille gitane était une mauvaise sorcière qui constitution démocratique sous Victor- d’entre eux, Don Garzia, fut frappé d’un mal mentait lorsqu’elle se disait innocente, et que Deuxième Partie. La gitane Emmanuel. mystérieux, une vieille gitane, que l’on avait la vengeance insensée de sa fille reste à ce jour Scène 1. Un campement rebelle dans les En 1852, Camillo Benso di Cavour fut vue rôder autour du berceau, fut impunie. Les soldats superstitieux croient que montagnes de Biscaye nommé président du Conseil et ministre des immédiatement soupçonnée de l’avoir l’esprit de la gitane continue de hanter le Il fait presque jour. Une bande de gitans Finances du Piémont. Verdi vouait une ensorcelé. Elle fut arrêtée et brûlée vive. Avant palais. Lorsque minuit sonne, ils se dispersent, s’apprête pour une nouvelle journée de travail admiration sans bornes à celui qui deviendrait de mourir, elle implora sa fille Azucena de la terrifiés. en prenant les fers du forgeron 10 . le principal artisan de l’unité italienne. Cavour venger. Peu après le jeune Garzia disparut et Ayant appris que les rebelles venaient de invita Verdi à être député dans le premier les restes carbonisés d’un squelette d’enfant Scène 2. Les jardins du palais subir une défaite, Azucena a trouvé Manrico parlement national en 1861. furent découverts parmi les cendres du bûcher Leonora s’attarde sur le chemin du retour au laissé pour mort sur le champ de bataille et,

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grâce à ses soins, il a guéri. Assise auprès du main durant le duel, mais il jure de ne plus Ferrando leur promet un riche butin en cas Quatrième Partie. La torture feu, elle est hantée dans ses songes par l’image épargner son rival 13 . de victoire. Le comte est au supplice de savoir Scène 1. Une aile du palais d’Aliafería de sa mère au bûcher 11 . Un messager apporte une lettre. Les rebelles que Leonora est à Castellar aux côtés de La tentative a échoué. Manrico a été fait Les gitans partis, Manrico veut connaître ont pris la forteresse de Castellor et Manrico Manrico 2 . prisonnier. C’est la nuit. Ruiz escorte Leonora dans le moindre détail cette tragique histoire. est chargé d’en assurer la défense. La lettre Azucena est arrêtée alors qu’elle errait dans la forteresse et lui montre la tour où Azucena lui raconte comment sa mère fut révèle aussi que Leonora, le croyant mort, va derrière les lignes ennemies; on la soupçonne Manrico est enfermé 8 . Elle reste calme, mais accusée à tort de sorcellerie par un comte entrer au couvent ce soir même. Malgré les d’être une espionne. Le comte commence résolue 9 . Tandis qu’un Miserere solennel cruel, et condamnée à une mort horrible 12 . protestations d’Azucena 14 , Manrico part par compatir sur la pauvre gitane de Biscaye, retentit 10 , la voix de Manrico s’élève dans un Son fils dans les bras, elle suivit sa mère de sur-le-champ sauver celle qu’il aime. dans l’espoir qu’elle saura quelque chose au dernier adieu. Leonora décide de le sauver 11 . loin et, s’étant frayé un passage dans la foule sujet de son frère enlevé il y a vingt ans 3 . Lorsque le comte arrive pour diriger amassée, elle entendit sa mère mourante Scène 2. Le couvent de la Sainte Croix à Mais lorsque Ferrando reconnaît en elle l’exécution de ses deux prisonniers 12 , il est s’écrier “Venge ma mort”, imprécation qui Castellor la meurtrière présumée de Garzia et stupéfait de trouver Leonora. Elle s’offre à lui depuis l’obsède sans répit. Elle enleva le fils du Le comte, furieux de voir sa passion repoussée qu’Azucena, dans un moment d’inattention, en échange de la liberté de Manrico 13 . Tandis comte dans l’intention de le brûler dans les et croyant Manrico mort, est lui aussi bien prie Manrico, son fils absent, de la sauver, que le comte fait libérer Manrico, elle avale un cendres ranimées du bûcher de sa mère, mais, décidé à empêcher Leonora de prendre le le comte comprend que par cette femme poison 14 . affolée par un mélange de compassion, de voile. Il a chargé ses serviteurs de l’enlever il va pouvoir se venger à la fois de la culpabilité et d’horreur, elle tua à la place son pour qu’elle n’appartienne qu’à lui seul 15 – 17 . meurtrière de son frère et du rival qu’il Scène 2. Dans la prison propre enfant. Résignée à son chagrin, Leonora fait ses hait 4 . Azucena est emmenée de force pour Manrico essaie de consoler Azucena, toujours “Qui suis-je?” demande Manrico. “Tu es adieux à ses amis 18 . Le comte la surprend, être brûlée. torturée par le souvenir du destin de sa mère, mon fils!” lui dit Azucena, essayant par ce mais son guet-apens échoue lorsque Manrico un destin qui sera bientôt le sien 15 . Elle sait mensonge de changer son histoire délirante. apparaît comme par miracle 19 . Ses partisans Scène 2. Une salle près de la chapelle à Castellor qu’elle va mourir, mais s’endort en rêvant aux Pour prouver son amour maternel, elle lui désarment le comte et Manrico enlève Malgré la bataille imminente, Manrico et montagnes de son pays natal 16 . Leonora rappelle comment elle lui porta secours sur le Leonora. Leonora s’apprêtent à s’unir en mariage 5 – 6 . arrive et annonce à Manrico qu’il est libre de champ de bataille et soigna ses blessures. Elle Ruiz leur apprend qu’Azucena a été capturée et partir sur-le-champ, mais qu’elle doit rester. Il reproche à Manrico d’avoir laissé la vie sauve à Troisième Partie. Le fils de la gitane qu’elle doit prochainement mourir au bûcher. commence par lui reprocher aprement d’avoir son rival après avoir remporté le duel puis de Scène 1. Le campement du comte de Luna Manrico avoue à Leonora que c’est sa mère qui trahi leur amour 17 , mais comme le poison s’être fait blesser par les hommes de Luna devant les murs de Castellor est en danger. Il abandonne la cérémonie et fait effet, il se rend compte qu’elle s’est durant la bataille qui suivit. Manrico essaie Les soldats du comte se détendent avant de ordonne à ses soldats de tenter de libérer sacrifiée pour sa liberté 18 . Lorsque le comte d’expliquer qu’une voix intérieure retint sa monter à l’assaut des rebelles de Castellor 1 . Azucena sur-le-champ 7 . découvre qu’il a été trompé et que Leonora se

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meurt sous ses yeux, il ordonne l’exécution de Bavière, à l’Opéra d’Etat de Vienne et au l’étranger. Son répertoire s’étend de C’est en participant à une exécution en version immédiate de Manrico. Il force Azucena à y festival de Bayreuth) ainsi qu’à Chicago et à Monteverdi à Birtwistle. Il a fait ses débuts de concert de Aïda à Munich, que la soprano assister. Cette dernière peut enfin crier la New York (The Metropolitan Opera). Citons au Royal Opera à Covent Garden dans dramatique Sharon Sweet entama sa carrière vérité: “Manrico était ton frère! Ma mère, parmi ses succès notoires, ses interprétations la création de Gawain de Sir Harrison internationale. Elle interpréta ensuite avec tu es vengée!” des rôles de Paolo (Simon Boccanegra), Birtwistle et a ensuite interprété les rôles de succès les rôles de Leonora (Il trovatore) et Sharpless, Beckmesser (à Bayreuth), Balstrode, Colline, Hans Flotz (Die Meistersinger von Elisabeth (Tannhäuser) à l’Opéra de Berlin au © 2000 Nicholas Payne le garde-chasse (Le Petit Renard rusé) et le Nürnberg) et José Castro (La fanciulla del cours de la saison 1986/87. Puis elle se Traduction: Nicole Valencia rôle titre dans Outis de Luciano Berio (au West). Parmi ses nombreuses interprétations produisit à l’Opéra de Paris (Elisabetta di Teatro alla Scala et au Châtelet théâtre avec Opera North figurent Antinoo (Il ritorno Valois dans Don Carlos), à Vienne, à Zurich, à Alan Opie a été formé à la Guildhall School of musical). Parmi ses nombreux enregistrements d’Ulisse in patria), Wurm (Luisa Miller), Hambourg et à l’Opéra d’Etat de Bavière à Music and Drama et au London Opera figurent, outre Die Meistersinger von Nürnberg Sparafucile, Ferrando (Il trovatore), le Moine Munich. Parmi les rôles particulièrement Centre. Il fut nommé Baryton principal à dirigé par Sir Georg Solti (couronné d’un et le Grand inquisiteur (Don Carlos), le rôle populaires qu’elle a interprétés, citons Norma l’English National Opera lorsqu’il était encore prix Grammy) dans l’interprétation du rôle titre dans Le nozze di Figaro, le (Théâtre royal de la Monnaie à Bruxelles, étudiant et fit partie pendant plus de vingt- de Beckmesser, Christopher Columbus (un Commendatore, Sarastro, Biterolf Rome, Barcelone, Lisbonne et Bilbao) et Aïda cinq ans de la compagnie de l’opéra. Il y est pastiche sur une musique d’Offenbach) et (Tannhäuser), le Docteur (Wozzeck), Arkel, (aux Arènes de Vérone et lors de ses débuts régulièrement invité depuis 1996. Il a Robinson Crusoe d’Offenbach pour l’Opera Kecal (La Fiancée vendue), Ebn-Hakia aux Etats-Unis, à San Francisco, en 1989). interprété le rôle titre dans Il barbiere di Rara ainsi que, pour Chandos, Peter Grimes (Yolande/Iolanta) et Sir Walter Raleigh En 1990, Sharon Sweet fit ses débuts au Siviglia, Falstaff (nominé pour un prix Olivier) (couronné d’un prix Grammy), Billy Budd, (Gloriana). Il s’est aussi produit lors de la Metropolitan Opera à New York dans et Doktor Faust de Busoni ainsi que les The Rape of Lucretia, Martin’s Lie (Menotti), création en Grande-Bretagne de Jérusalem de Il trovatore et elle s’y est produite chaque rôles de Don Alfonso, Papageno, Dr Troilus and Cressida (Walton), Guerre et Paix Verdi. A l’English National Opera, il a saison, depuis, dans des œuvres telles Malatesta, Don Carlo (Ernani), Germont, (Prokofiev) et, en association avec la interprété les rôles de Cadmus (Semele), Don Giovanni, Stiffelio, Un balla in maschera, Melitone (La forza del destino), Ford, Peter Moores Foundation, Maria Stuarda, Arkel et divers rôles dans Les Contes La forza del destino, ainsi que dans le rôle titre Sharpless, Eisenstein, Dr Falke, le ménétrier Il barbiere di Siviglia, Rigoletto, Pagliacci et d’Hoffmann, Doktor Faust, Wozzeck et de Turandot qu’elle a aussi interprété au Royal (Die Königskinder de Humperdinck), Valentin, La bohème. Billy Budd. Parmi ses nombreux Opera à Covent Garden, à l’Opéra national de Kovaljov (Le Nez de Chostakovitch) et enregistrements, citons, pour Chandos, Troilus Paris-Bastille, à Florence et à la Cité interdite à Balstrode (Peter Grimes). Il s’est produit avec La réputation de la basse Clive Bayley qui a and Cressida (Walton), Billy Budd et, en Pékin. Récemment, elle a interprété les rôles les compagnies d’opéra les plus éminentes de été formé au Royal Northern College of Music association avec la Peter Moores Foundation, d’Aïda au Metropolitan Opera et d’Ariadne Grande-Bretagne et sur les scènes d’opéras de est bien établie sur les grandes scènes de Don Pasquale et quelques grands airs de Boris (Ariadne auf Naxos) avec l’Orchestre l’Europe entière (notamment à l’Opéra d’Etat concert et d’opéra en Grande-Bretagne et à Godounov. philharmonique d’Israël. Elle s’est produite en

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concert avec les musiciens les plus renommés Peter Moores Foundation, L’elisir d’amore de l’Opéra des Pays-bas (Suzuki), de l’Opéra de Philadelphie et de Cleveland, et les orchestres et a participé à plusieurs enregistrements très Donizetti. Madrid, du Semper Opéra à Dresde (Penelope symphoniques de Montréal et d’Ottawa. applaudis, notamment Falstaff sous la baguette dans Il ritorno d’Ulisse in patria), de Batignano Il s’est produit aussi au festival de Cincinnati. de Sir Colin Davis. Née dans le Lincolnshire et formée au Royal (Penelope), du Theater Basel (le rôle titre dans En Europe, il a été souvent invité par l’Opéra Academy of Music et au National Opera Giulio Cesare), au festival d’Aix-en-Provence et d’Etat de Bavière à Munich où il a interprété, La soprano Helen Williams a étudié le chant Studio, la mezzo-soprano Anne Mason a fait au festival de musique ancienne d’Innsbruck. parmi d’autres, les rôles de Manrico et au Royal Northern College of Music et a ses débuts à l’Opera North dans les rôles de Anne Mason est une artiste de concert très Gabriele Adorno (Simon Boccanegra). Il a poursuivi sa formation avec Gerald Martin Fenena (Nabucco) et de la Deuxième Dame active; parmi ses enregistrements figurent chanté sur la scène des opéras de Vienne, Moore à Londres. Elle a fait ses débuts au (Die Zauberflöte). Elle s’est produite pour la Emilia di Liverpool de Donizetti et Medea in Berlin, Bonn, Cologne, Hambourg, Paris, festival d’opéra de Glyndebourne en 1988 où première fois avec le Royal Opera de Covent Corinto de Mayr pour l’Opera Rara. Nice, Zurich, Bruxelles, Oslo, Barcelone, elle interprétait le rôle de Sashka dans The Garden dans le rôle de Mercedes (Carmen) lors Oviedo, Vérone et Turin. Dennis O’Neill est Electrification of the Soviet Union de Osborne, d’une tournée en Extrême-Orient et a, depuis, Né au pays de Galles de parents irlando- un artiste réputé pour ses succès en concert et puis le rôle d’Emmie dans Albert Herring. Elle interprété de nombreux rôles avec cette gallois, Dennis O’Neill est l’un des ténors les à la télévision, mais il a aussi participé à de s’est produite dans Peter Grimes au festival de compagnie, parmi lesquels Marcellina plus en vue au niveau international. C’est aussi nombreux enregistrements. Pour Chandos, en St Endellion en 1994. Parmi ses autres rôles, (Le nozze di Figaro), Annius (La clemenza di un spécialiste des œuvres de Verdi. Il a noué collaboration avec la Peter Moores citons Dalinda (Ariodante) et Amor (Orfeo ed Tito), Enrichetta (I puritani), Emilia (Otello), des liens étroits avec le Welsh National Opera Foundation, il a enregistré Cavalleria rusticana, Euridice) avec l’English National Opera, Yvette Suzuki, Wellgunde (Das Rheingold et et avec le Royal Opera de Covent Garden où il Pagliacci, Tosca, La bohème et un disque d’airs (La rondine) et la Seconde nièce (Peter Grimes, Götterdämmerung), Waltraute (Die Walküre), a notamment interprété les rôles suivants: d’opéra. Il figure dans la liste des New Year’s lors d’une tournée en Finlande) avec le Royal Annina (Der Rosenkavalier) et Guinevere (dans Edgardo (Lucia di Lammermoor), Jacopo (I due Honours de l’an 2000 pour s’être vu décerner Opera de Covent Garden, Naiade (Ariadne auf Gawain de Sir Harrison Birtwistle). Elle s’est Foscari), Carlo (Giovanna d’Arco), Foresto le CBE (Commander of the Order of the Naxos) et la Première dame (Die Zauberflöte) produite avec le Welsh National Opera (Attila), Macduff, le Duc (Rigoletto), Gustavo, British Empire). avec le Scottish Opera, Helena (A Midsummer (Dorabella), l’English National Opera Aroldo, Don Carlos, Radames, Otello, Night’s Dream) avec l’Opera North, Ellen dans (Marcellina et Dorabella), le Scottish Opera Rodolfo (La bohème) et Pinkerton. En Après avoir été lauréat de nombreux prix à la la création mondiale de Hey Persephone! à (Cornelia dans Giulio Cesare, Sextus dans Amérique du Nord, il s’est produit sur diverses Royal Academy of Music, le ténor Mark Le Aldeburgh et au festival d’Almeida, et La clemenza di Tito et Adalgisa dans Norma), scènes telles le Metropolitan Opera à New Brocq poursuivit ses études au National Opera Flaminia (Il mondo della luna de Haydn) avec ainsi qu’au festival de Glyndebourne et lors York (dans les rôles d’Alfredo, Radames, Studio. Il est actuellement titulaire principal à l’Opera Zuid aux Pays-Bas. Son répertoire de des tournées d’Opéra de Glyndebourne. Elle a Turiddu et Canio entre autres), le Lyric Opera l’English National Opera où il a interprété concert est étendu et parmi ses enregistrements participé aussi aux BBC Promenade Concerts. de Chicago, les opéras de San Francisco, San notamment les rôles de Boggart (The Fairy figure, pour Chandos en association avec la A l’étranger, elle a chanté sur les scènes de Diego et Vancouver, avec les orchestres de Queen), Odoardo (Ariodante), Don Curzio

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(Le nozze di Figaro), Don Ottavio, Tamino, a réalisé plus de trente enregistrements. Ce aussi de la variété de ses talents et de sa Italie, au Festival international de Hong-Kong, Monostatos, Borsa, Cassio (Otello), Chœur ne cesse d’élargir sa réputation, réputation de perfection artistique. au Japon pour une tournée de Carmen et au Remendado (Carmen), Rodriguez (Don travaillant avec la BBC et plusieurs maisons de Mexique avec l’Orchestre symphonique Quichotte de Massenet), Nathaniel (Les Contes disques internationales. Pour Chandos, le Après avoir étudié avec Sergiu Celibidache, d’UNAM. Il a récemment dirigé plusieurs d’Hoffmann), Tonik (Les Deux Veuves de Geoffrey Mitchell Choir a participé à plusieurs David Parry commença sa carrière comme nouvelles productions dont Fidelio au Festival Smetana), Missail (Boris Godounov), Narraboth enregistrements pour Opera in English, une assistant de Sir John Pritchard. Il fit ses débuts de Nouvelle-Zélande, Maria Stuarda au (Salome), Paris (King Priam), le Premier série de disques très prisés financée par la Peter avec l’English Music Theatre avant de devenir Théâtre de Bâle et Lucia di Lammermoor avec Officier (Dr Prinz von Homburg de Henze) et Moores Foundation. l’un des chefs d’orchestre au Städtische le New Israeli Opera. Dr Maxwell (dans The Silver Tassie de Bühnen à Dortmund et à Opera North. En studio, il a participé entre autres à la Turnage). Il s’est produit en soliste en récital Depuis sa création en 1932 par Sir Thomas Directeur musical d’Opera 80 de 1983 à 1987, production de la BBC Television de Der ainsi que dans des oratorios lors de divers Beecham, le London Philharmonic Orchestra il est directeur musical d’Almeida Opera Vampyr de Marschner, dirigeant aussi vingt et concerts ou festivals en Europe, au Moyen- a passionné son auditoire par des exécutions depuis sa fondation en 1992. une intégrales d’opéras financées par la Peter Orient, aux Etats-Unis et dans les principales mettant en scène des chefs d’orchestre et des Sa carrière, nationale et internationale, est Moores Foundation. Plusieurs de ces intégrales salles de concert de Londres. Il a réalisé de solistes de renom international. Citons parmi extrêmement remplie, aussi bien sur la scène furent enregistrées pour Opera Rara et nombreux enregistrements y compris des les chefs d’orchestre titulaires de l’orchestre lyrique qu’en concert. Il a dirigé plusieurs primées, Rosmonda d’Inghilterra de Donizetti enregistrements vidéo. depuis lors: Sir Adrian Boult, Sir John productions de l’English National Opera et recevant en Belgique le Prix Cecilia. Pour Pritchard, Bernard Haitink, Sir Georg Solti, collabore régulièrement avec le Philharmonia Chandos, Parry a dirigé sept enregistrements Durant sa carrière de chanteur, Geoffrey Klaus Tennstedt et Franz Welser-Möst. Kurt Orchestra. C’est avec Così fan tutte qu’il fit ses d’airs d’opéra (avec Bruce Ford, Diana Mitchell aborda un répertoire Masur sera le nouveau chef principal en débuts au Festival de Glyndebourne en 1996, Montague, Dennis O’Neill, Alastair Miles, remarquablement varié, depuis la musique septembre 2000. Désigné orchestre résident au une scène qu’il retrouva en 1998 pour diriger la Yvonne Kenny, John Tomlinson et Della ancienne jusqu’à la musique contemporaine, se Royal Festival Hall depuis 1992, le London création mondiale de Flight de Jonathan Dove. Jones, les deux derniers devant paraître durant produisant en Scandinavie, en Allemagne, Philharmonic Orchestra a aussi été orchestre Il séjourne fréquemment en Espagne où il a 2000 et 2001) de même que Faust, Don dans l’ancienne Tchécoslovaquie, au Canada et symphonique résident au festival d’opéra de dirigé en concert la plupart des grands Pasquale, L’elisir d’amore, La bohème, Cavalleria en Australasie. Après avoir fait ses premières Glyndebourne pendant les trente-cinq orchestres espagnols. C’est lui qui dirigea la rusticana, Pagliacci, l’enregistrement primé de armes de chef d’orchestre avec la BBC, il dernières années. Son œuvre de pionnier en première espagnole de Peter Grimes à Madrid et Tosca et des extraits de Der Rosenkavalier, tous décida de prendre une part active dans ce matière de formation et de projets associatifs, en 1996 la première production espagnole de ces enregistrements étant réalisés en domaine avec ses propres chanteurs et fonda le ses nombreux enregistrements couronnés de The Rake’s Progress. Il a dirigé en Allemagne, en collaboration avec la Peter Moores Geoffrey Mitchell Choir. L’ensemble travaille prix et ses tournées internationales qui ont Suède, aux Pays-Bas, au Festival de Pesaro en Foundation. depuis longtemps avec Opera Rara pour qui il ouvert des horizons nouveaux témoignent

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Dennis O’Neill as Manrico, with Stefania Toczyska as Azucena, in the Anne Mason, from the 1992 Bavarian State Opera production of Il trovatore cover photo session

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ritorno al “brutto stile di una volta”, forse non attraverso la composizione attenta, pratica della Giuseppe Verdi: Il trovatore aveva esaminato in maniera abbastanza scena finale, senz’altro una delle più grandi di approfondita la partitura. Se lo avesse fatto, tutta la musica verdiana. Dal punto di vista Le anime elette, e anche la mia, di tanto in Quello che lo affascinò soprattutto fu il avrebbe visto che, pur seguendo a grandi linee puramente musicale, alcuni elementi quali le tanto, ci dicono che la più grande musica personaggio della zingara Azucena, con il suo le forme accettate dell’opera italiana del primo relazioni chiave, i motivi ricorrenti e le linee verdiana è, naturalmente, quella degli ultimi due perenne conflitto intimo tra amore materno e Ottocento, Verdi le modificò in maniera sottile vocali adattate a pennello ai loro interpreti capolavori, Otello e Falstaff; nella famosa trilogia filiale. Per questo aveva pensato di intitolare e ingegnosa, trasformandole in un dramma coinvolgono immediatamente l’attenzione e popolare del periodo medio, La traviata si l’opera con il suo nome, per questo la musica musicale dal flusso libero, che è una delle l’orecchio dello spettatore di quest’opera colloca al di sopra dei suoi due meno raffinati composta per lei è così originale e ispirata. qualità migliori del Trovatore. avvincente. predecessori. Poi ci sono l’epico Don Carlos, il Verdi fu affascinato anche dai risvolti di Come sottolineò Francis Toye, eminente La narrazione d’esordio di Ferrando, talvolta magico accostamento di levità e tragedia di emarginazione sociale collegati al personaggio studioso verdiano del passato, quest’opera ritenuta un debole, che esiste solo Un ballo in maschera e la vasta panoramica de della zingara, che da questo punto di vista potrebbe essere un Ernani del massimo livello, per spiegare la trama, è in realtà un racconto La forza del destino. Eppure il Trovatore ha somiglia un po’ a Rigoletto; perciò chiese al “apoteosi del buono e del cattivo nel primo avvincente, se viene compreso fino in fondo, e qualcosa che ne fa un “unicum” della suo librettista, il poeta Salvatore Cammarano, Verdi”, ma è sufficiente esaminare le due ci immerge immediatamente nella strana produzione verdiana, “senza confronti nell’intera un testo che gli lasciasse una libertà di partiture o, meglio ancora, ascoltarle in teatro o vicenda di una morte accidentale con le sue letteratura operistica”, per dirla con le parole di espressione analoga a quella che aveva avuto su disco, per scoprire che in Trovatore Verdi conseguenze e della vendetta della zingara uno degli studi approfonditi di Julian Budden. per Rigoletto. Anzi, dichiarò che quando aveva consolidato le sue forme, migliorato le sue vagante. Verdi conferisce alla scena un Questo giudizio trova conferma ogni volta riceveva dei versi da musicare, più strani e tessiture orchestrali e raffinato e variato le sue carattere ipnotico con l’insistente ripetizione di che si ascolta l’opera: la sua robusta energia, la bizzarri erano, più gli piacevano. Forse melodie per la voce, tanto che non si potrebbe una figura di semicroma. sua inesauribile melodia e il suo progresso Cammarano non si rivelò esattamente eliminare nemmeno una battuta senza Una volta nel giardino del palazzo, ci inarrestabile fanno sempre presa sulla fantasia. all’altezza delle richieste che gli aveva fatto danneggiare l’attenta architettura dell’opera; troviamo in un mondo diverso, letteralmente e Lo stesso Verdi sembrò immediatamente Verdi, in quanto era un po’ troppo desideroso altrettanto non si può dire di Ernani (pur dal punto di vista musicale: un mondo conquistato dalle possibilità che gli aveva fatto di seguire la trama della tragedia originale; meraviglioso nel suo aspetto rudimentale). d’amore e di pensieri romantici. Leonora intravvedere il soggetto de El trovador, una tuttavia, da esperto di teatro qual era, alla fine Ascoltate la straordinaria conclusione della Parte ricorda il suo strano incontro con un valoroso tragedia di Gutiérrez. La trama presentava in realizzò un libretto che subito accese la fertile II, che termina, anziché con una stretta, con cavaliere. In “Tacea la notte” (The stars shone abbondanza quelle situazioni forti che immaginazione del compositore. L’eccentrico una ripetizione della splendida frase di Leonora in the heav’ns above) la prima delle risultavano particolarmente congeniali al suo critico e musicologo Joseph Kerman, che “Sei tu dal ciel disceso” (Have you come down malinconiche e indimenticabili melodie estro piuttosto cupo (come dimostrano Ernani e definì Trovatore “una magnifica dimostrazione from Paradise); il progresso nella tecnica dell’opera, Verdi produce un motivo di Macbeth, due opere che precedono il Trovatore). del senza principi morali” e un verdiana è chiaro, come lo è naturalmente bellezza luminosa, culminante in una cabaletta

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in cui Leonora dichiara amore eterno per lo attraverso il vigore del ritmo e la pittura del contrasto tra le imprecazioni del Conte e la venga a salvarla, mentre il conte esulta al sconosciuto. Entra il Conte di Luna per testo, Verdi dà corpo graficamente al melodia del coro delle suore. Noi ci sentiamo pensiero di una doppia vendetta. Ancora una parlare con Leonora, oggetto delle sue mire personaggio di Azucena. dalla parte dell’infelice Leonora che dice addio volta la musica di Verdi è irresistibile; il amorose, ma viene interrotto – momento Naturalmente sconvolto da quanto ha a Inez (recitativo verdiano al massimo contrappunto vocale e ritmico è interamente magico – dalla voce di Manrico, l’innamorato appena sentito, Manrico chiede ad Azucena di dell’eloquenza), prima che il Conte tenti di adatto alla situazione e sfoggiato con della donna, che da lontano descrive il suo rassicurarlo e confermargli che lui è davvero rapirla. Tutti sono stupiti dall’improvvisa ammirevole brevità. Moltissimo viene espresso amore e la sua desolazione: una tipica suo figlio. Nel duetto successivo, Manrico apparizione di Manrico, ma soprattutto in un lasso di tempo estremamente limitato. cantilena verdiana. Dopo un momentaneo narra della sua incapacità di uccidere il Conte Leonora che, in “E deggio e posso crederlo” Nella scena successiva ritorniamo agli scambio di persona, Leonora e Manrico si di Luna, suo nemico. L’inizio di “Mal (Oh, can it be, can I believe) pronuncia delle innamorati. Con un recitativo e aria, Manrico confessano, estasiati, il proprio amore, mentre reggendo” (As we struggled) è tipico di tutta la espressioni che dipingono letteralmente i suoi manifesta la sua natura romantica ed eroica il Conte di Luna denuncia il bandito, il tutto musica per Manrico nella sua energia mitigata sentimenti di sollievo e gioia. Il successivo allo stesso tempo. Poi canta con Leonora uno in un impetuoso trio. I sentimenti dei tre dall’ardore lirico. Manrico viene interrotto dal insieme è un concertato del miglior genere; squisito duetto, pregustando le nozze (esiste innamorati sono stati magistralmente descritti suo compagno Ruiz, il quale gli annuncia che con ogni opera che componeva, Verdi un momento analogo di effimera felicità per e il terreno è pronto per i successivi conflitti. Leonora, credendolo morto, sta per entrare in diventava sempre più esperto e audace nella gli innamorati nell’Atto II di Ernani), prima Il “Coro delle incudini”, eseguito dai gitani convento. Questo dà il via a un’immediata e realizzazione di questi finali. Qui ciascun che Ruiz venga ad annunciare la cattura di in una località selvaggia sulle montagne di precipitosa cabaletta. personaggio ha un motivo adeguato al proprio Azucena e la sua condanna al rogo. Manrico Biscaglia, sarà anche stato rovinato Veniamo quindi trasportati nel giardino del stato d’animo prima di quella frase di Leonora, corre via per salvarla, ma solo dopo aver dall’eccessivo utilizzo in circostanze non convento, dove è appostato il Conte di Luna, di cui si è parlato sopra, che descrive l’estasi eseguito “Di quella pira” (That fierce inferno), adeguate, ma è perfettamente giustificato, con che trama di rapire Leonora. Gli viene della sua riunione con l’amato. la travolgente cabaletta, con i suoi do di petto la sua descrizione semplice della vita degli assegnato quello che una volta era il brano più Dopo il coro marziale degli armigeri che mettono sempre a dura prova la tempra di zingari; basta riascoltarlo per rendersene conto. famoso della partitura, “Il balen” (In the stars), all’inizio della Parte III, in primo piano sulla un tenore. Il profilo di Azucena viene definito in due in cui si dilunga sulle grazie di Leonora. Si scena ritorna Azucena, imprigionata dai La missione di Manrico fallisce e Leonora si brani solistici contrastanti, il primo ipnotico, tratta veramente di un gioiello per un baritono, seguaci del Conte di Luna. La zingara narra reca nel sotterraneo per tentare di salvarlo. In in cui la zingara rievoca il rogo della madre, il un’espressione di fervente ardore, finemente loro la sua situazione, nei toni lamentosi del un espressivo Adagio “schiude il suo animo alla secondo rivolto solo a quello che crediamo suo sintonizzata. In una focosa cabaletta egli rivela commovente “Giorni poveri” (Though my life notte”, per dirla con la bella espressione del figlio, Manrico, con la terribile storia della sua la sua vera natura. Questa è la vera immagine was poor). Tuttavia rivela un po’ troppo del critico Ernest Newman, anche se io non vendetta, in cui inavvertitamente ella rivela di del vigoroso Verdi del periodo medio. suo passato e viene incatenata dai suoi condivido la sua opinione che la coloratura la aver sacrificato il proprio figlio e non quello La scena finale della Parte II è magistrale. carcerieri; a questo punto si lancia in una rovini: sembra invece acuire le emozioni che dell’anziano Conte. In entrambi questi brani, All’inizio Verdi crea uno straordinario disperata cabaletta, invocando Manrico perché esprime Leonora. Segue il famoso Miserere.

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Suona una campana a morto, un coro chiede Il lungo duetto nella prigione, alla fine La storia del “Trovatore” Chiesa. Gli altri candidati di rilievo al trono clemenza in una cantilena solenne, Leonora si dell’ultima scena tra Azucena e Manrico, viene sono tre. lamenta in accenti commoventi e dal carcere preceduto da cupi accordi, presaghi di morte. Il Quattrocento Luigi d’Anjou, il “candidato francese”, Manrico piange il suo infelice destino. Questo La zingara parla come in un sogno vago, lui Il protagonista della tragedia El trovador di nipote di re Juan, fratello maggiore e è un momento di altissima ispirazione cerca di confortarla e Verdi imprigiona i loro Gutiérrez e dell’opera verdiana Il trovatore è un predecessore di Martino, era ancora bambino e verdiana, che offre un concetto all’epoca rispettivi sentimenti in frasi che si scolpiscono personaggio inventato, come Leonora, viveva in Francia. completamente nuovo ed entusiasmante. nella mente dell’ascoltatore. Quando Leonora Azucena e persino il Conte di Luna, Ferdinando di Antequera era figlio di Da sola, in una straziante cabaletta, Leonora entra e supplica Manrico di fuggire, egli si nonostante quest’ultimo abbia un nome che Leonora, sorella di Martino. Quest’ultima dichiara che la morte non può uccidere l’amore. rende conto che la donna si è compromessa per richiama alcuni importanti eventi della storia aveva sposato un componente della famiglia Si tratta di un brano un tempo omesso, ma in amor suo, ma non sa che si è avvelenata. spagnola. Trastámara, a capo del vicino regno di realtà indispensabile per comprendere fino in L’apostrofa in termini violenti; vedendola La vicenda dell’opera, però, si inquadra in Castiglia dal 1368 al 1474. Il fratello maggiore fondo Leonora e la struttura della scena. Dopo vacillare, torna gradualmente in sé. Il rapido un contesto storico. Leonora è dama di corte Enrico, detto l’Infermo, era morto nel 1406, questo brano appassionato, Leonora si trova sviluppo del dramma viene tenuto sotto stretto della principessa d’Aragona e vive nel palazzo lasciando la reggenza alla regina madre, dinanzi il Conte di Luna, che inizialmente non controllo da Verdi che aggiunge, con un colpo reale dell’Aliafería, vicino Saragozza. L’esercito Catherine di Lancaster, discendente di la vede e canta in soliloquio, chiedendosi dove di genio, una ripetizione del toccante lamento del principe di Aragona è comandato dal Giovanni di Gaunt, fautrice di una campagna si trovi la donna. Ella esce dall’ombra, chiede di Azucena. Leonora dice addio a Manrico con Conte di Luna; Manrico è un fedele seguace peninsulare imperialista che continuò a clemenza per Manrico, “Mira, di acerbe una frase mozzafiato, “Prima che d’altri vivere” delle forze del suo avversario, il conte Jaime de intermittenza dal 1372 al 1386. La lagrime” (See all these bitter tears of mine) e (Rather than live to be his bride), poi spira. Urgel, il cui nome viene invocato da Ruiz alla candidatura di Ferdinando venne appoggiata offre in cambio la sua vita. Si tratta di un Entra il Conte di Luna, capisce la verità e fine della Parte II (Viva Urgel!/Long live da alcuni nobili e infine anche dal Papa. vigoroso duetto, Leonora fa disperato appello ordina che Manrico venga condotto al patibolo. freedom!). La politica è quindi presente nel La rivendicazione più forte veniva alle qualità migliori del conte, che rimane Solo allora Azucena si alza e gli rivela che ha dramma, per quanto rimanga in ombra. comunque da Jaime di Urgel, in virtù delle sue irremovibile nel suo desiderio di vendetta e nel messo a morte il proprio fratello. In piedi, Siamo nel 1410 e si combatte per la nozze con Isabella, sorella minore di Martino; suo amore. Alla fine, ella gli si promette a patto davanti al cadavere di Leonora, il Conte di successione al trono d’Aragona. Dopo due inoltre lo stesso Urgel era un diretto che liberi Manrico. Mentre il Conte dà i relativi Luna esclama: “E vivo ancor!” (And I still live!). secoli e mezzo di dominio catalano, la morte discendente maschile del nonno di Martino, re ordini a una guardia, Leonora si avvelena. Con questo rapido epilogo, cala il sipario su del re Martino il Vecchio ha posto fine Alfonso IV. Martino lo aveva nominato Quindi è la volta della febbrile cabaletta “Vivrà! un’esperienza lirica che non perde mai di all’egemonia dei conti di Barcellona. L’unico Luogotenente di Catalogna, un titolo Contende il giubilo” (He lives! I cannot speak freschezza. figlio del re, morto l’anno precedente, ha normalmente conferito all’erede al trono for joy). L’inarrestabile tragedia sta per © 2000 Alan Blyth lasciato solo un nipote illegittimo, Fadrique, aragonese. Questa nomina gli aveva consentito raggiungere il momento culminante. Traduzione: Emanuela Guastella favorito dal vecchio re, ma inaccettabile per la di avere un proprio esercito, ma non aveva

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fatto molto per la sua reputazione di vollero nove mesi per raggiungere un voto di aver accettato una trama complicata regina Isabella II contro le pretese rivali di suo governante, che gli aveva ottenuto il maggioranza a favore di Ferdinando nel dovrebbero essergli riconoscenti per aver zio, il pretendente Don Carlos, campione soprannome di “sventurato”: Jaime El compromesso di Caspe, la cittadina in cui si tralasciato tanti dettagli della storia dell’assolutismo. La guerra civile del desdichado. Il suo sostegno veniva dalla riunivano i confini delle province. quattrocentesca. Come spesso succede, l’arte Quattrocento, quindi, aveva un significato Catalogna, suo paese di origine, da numerosi Urgel non accettò il verdetto e si ritirò in riuscì a semplificare le cose. Verdi vide particolarmente contemporaneo per il giovane esponenti della nobiltà diseredata e Guascogna per riunire truppe di ribelli. istintivamente il conflitto drammatico Gutiérrez e il suo pubblico eccitabile. inizialmente dalla famiglia dei Luna, la Quindi invase il regno attraverso la regione implicito nella situazione storica. Nell’ambito Lo stesso si verificò, in maniera più generica, famiglia del Papa. della Biscaglia. È questa guerra civile che fa da della produzione verdiana, Il trovatore non è per Verdi nello scompiglio politico dell’Italia di Il Papa, o piuttosto l’Antipapa, dal sfondo a Il trovatore. Il Conte di Luna l’unico esempio delle forti possibilità metà Ottocento. Il 1848 era stato l’anno delle momento che questo era il periodo del Grande dell’opera è comandante in capo dell’esercito drammatiche offerte dal lento emergere della rivoluzioni e della prima guerra d’indipendenza. Scisma d’Occidente, era Benedetto XIII, al di Ferdinando. Manrico è un capo dei ribelli Spagna dall’epoca medievale. Già in Ernani era Le truppe borboniche erano state cacciate dal secolo Pedro de Luna, cardinale d’Aragona, fedeli al Conte di Urgel. descritto il periodo del secolo successivo, in cui Regno delle due Sicilie e fu dichiarata aragonese di nascita e arrogante per natura. Fu La ribellione di Urgel fu infine sconfitta e il le divisioni feudali erano state riunite sotto il l’indipendenza. Le truppe austriache erano state deposto dal seggio papale nel 1409, ma rifiutò conte morì in prigione. Ferdinando divenne forte regno centralizzato di Carlo V. Più tardi espulse dalla Lombardia e dal Veneto. Napoli, la di dimettersi e infine si ritirò nella fortezza di indiscusso re d’Aragona. Sebbene egli dovesse Verdi avrebbe fatto ritorno alla storia spagnola Toscana, lo Stato della Chiesa e il Piemonte Peñiscola, dove regnò in splendido isolamento il trono al sostegno della Chiesa, presto all’epoca del figlio di Carlo, Filippo II, con il avevano dovuto concedere delle costituzioni e fu il più eccentrico dei tre Papi rivali. Fu denunciò Benedetto XIII, l’Antipapa Don Carlos. scritte. Venezia era stata dichiarata repubblica. Il dichiarato scismatico dal concilio di Costanza aragonese. Durante il suo breve regno, inoltre Il dramma di Gutiérrez ha più elementi in Papa era fuggito da Roma. nel 1417, ma sopravvisse fino al 1423. offese i Catalani affidandosi ad alcuni comune con Hernani di Victor Hugo che con La battaglia di Legnano, forse l’opera più Il caso di Urgel ricevette il colpo di grazia consiglieri castigliani. Ciononostante fu detto il più raffinato Don Carlos di Schiller. La dichiaratamente politica di Verdi, fu con l’assassinio dell’arcivescovo di Saragozza, Ferdinando il Giusto. Gli successe nel 1416 il prima di El trovador, l’1 marzo del 1836, rappresentata per la prima volta a Roma il capo della Chiesa aragonese, da parte dei suoi figlio, più famoso, Alfonso il Magnanimo. riscosse un successo senza pari nella storia 27 gennaio del 1849. Meno di due settimane sostenitori (guidati da don Antonio de Luna!) L’Aragona e la Castiglia vennero finalmente teatrale della Spagna; per la prima volta dopo, Roma veniva proclamata repubblica. Il Il Papa scomunicò Antonio de Luna e trasferì unificate nel 1479 quando i due rami della l’autore fu chiamato in scena per ricevere trionfo dei liberali, con cui Verdi venne il suo sostegno da Urgel a Ferdinando. famiglia Trastámara vennero riuniti in seguito l’applauso del pubblico. identificato, fu però di breve durata. Quella Invece della tradizionale elezione delle alle nozze tra Ferdinando e Isabella. All’epoca, il ventitreenne Gutiérrez si era stessa estate la Repubblica Romana venne Cortès, si decise di formare una commissione di arruolato come volontario nell’esercito che abolita e le truppe francesi restaurarono il nove teologi e giuristi, tre di ciascuna provincia, L’Ottocento Mendizabel stava riunendo per difendere la potere del Papa. Gli Austriaci riconquistarono per pronunciare un giudizio tra i candidati. Ci Coloro che rimproverano a Verdi il fatto di monarchia costituzionale liberale della giovane la Lombardia e il Veneto. L’assolutismo

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borbonico venne restaurato a Napoli sotto la Negli anni precedenti agli avvenimenti avvenimenti collegati alla scomparsa di rivela 8 e il Conte lo riconosce: è un traditore protezione austriaca. Solo il Piemonte dell’opera, il minore dei due figli maschi del Garzia 2 . Ferrando è certo che la vecchia condannato, alleato del ribelle Urgel. mantenne la costituzione democratica sotto vecchio Conte di Luna, Don Garzia, si era zingara fosse una strega malvagia, che le sue Nonostante le proteste di Leonora, i due rivali Vittorio Emanuele. misteriosamente ammalato. Vicino alla sua proteste di innocenza fossero menzogne e che gelosi si allontanano per sfidarsi a duello 9 . Nel 1852, Camillo Benso di Cavour veniva culla era stata vista aggirarsi una vecchia la folle vendetta di sua figlia fosse rimasta nominato primo ministro del Piemonte. zingara, che era stata subito sospettata di impunita. Gli uomini, superstiziosi, credono Parte II. La gitana Sarebbe divenuto il principale artefice averlo stregato, arrestata e arsa viva. Con le sue che lo spirito della zingara frequenti ancora il Scena 1. Accampamento dei ribelli sulle dell’unità Italia e Verdi nutrì nei suoi confronti ultime parole, la donna aveva chiesto a sua palazzo. Allo scoccare della mezzanotte, si montagne di Biscaglia una sconfinata ammirazione. Cavour invitò figlia Azucena di vendicarla. Poco dopo Garzia disperdono, terrorizzati. Albeggia. Un gruppo di zingari si prepara ad Verdi fare parte dei deputati nel primo era scomparso e tra le ceneri del rogo della un altro giorno di lavoro con le incudini 10 . parlamento nazionale del 1861. zingara erano stati rinvenuti i resti carbonizzati Scena 2. Giardini del palazzo Informata dell’ultima sconfitta dei ribelli, La seconda guerra d’indipendenza iniziò il dello scheletro di un bambino. Ma il vecchio Di ritorno al palazzo, Leonora si attarda, nella Azucena ha trovato Manrico come morto sul 23 aprile del 1859, con l’invio di un conte era rimasto convinto che il figlio minore speranza di vedere lo sconosciuto cavaliere di campo di battaglia e lo ha curato. Adesso ultimatum scritto dell’Austria. Quando lo fosse sopravvissuto e, in punto di morte, aveva cui si è innamorata per il coraggio da lui medita accanto al fuoco e rivive ossessivamente lesse, Cavour, eccitatissimo, non potè fare altro chiesto al proprio erede di continuare a manifestato in occasione di un torneo la scena del supplizio della madre 11 . che saltare nella stanza, agitando il messaggio cercarlo. precedente all’inizio della guerra civile 3 . Gli zingari se ne vanno e Manrico chiede di in aria. Finalmente, per dar sfogo al tumulto Sono passati vent’anni e il paese è ormai Racconta a Inez che il cavaliere è ritornato e conoscere la tragica storia al completo. delle proprie emozioni, spalancò la finestra e dilaniato dalla guerra civile. Le forze dei ribelli ha assunto l’identità di un trovatore; le sue Azucena gli racconta che sua madre era stata cantò l’aria di Manrico, “Di quella pira”, con di Biscaglia sono schierate contro le truppe meste canzoni d’amore arrivano fino a lei falsamente accusata di stregoneria da un quanto fiato aveva in gola. In quest’occasione, realiste guidate dal giovane Conte di Luna. nell’aria profumata della sera 4 . Nonostante malvagio Conte e condannata a una morte fu la storia ad imitare l’arte. gli avvertimenti dell’amica, giura di restargli terribile 12 . Azucena stessa aveva seguito la Parte I. Il duello fedele, anche se questo dovesse costarle la madre a distanza, con il proprio figlio in © 2000 Nicholas Payne Scena 1. Atrio nel palazzo dell’Aliafería vita 5 . braccio, e si era fatta strada a stento tra la folla, Traduzione: Emanuela Guastella È quasi mezzanotte. Gli uomini che fanno da Il Conte è deciso a imporsi a Leonora 6 avvicinandosi abbastanza da sentire la sentinella sono stanchi. Ferrando li ammonisce ma viene disturbato dagli accordi della maledizione della madre morente, “Mi Trama dell’opera di avvistare lo sconosciuto trovatore il cui serenata del suo sconosciuto rivale 7 . vendica”; quelle parole non l’hanno più canto interrompe la veglia notturna del conte Precipitandosi verso la voce del suo l’abbandonata. Aveva rapito il figlio del Conte La vicenda si svolge in Spagna settentrionale, sotto la finestra di Leonora 1 . Per tenerli innamorato nell’oscurità, Leonora finisce per dal palazzo per bruciarlo tra i carboni riaccesi nelle province di Aragona e Biscaglia. svegli, accetta di narrare la sua versione degli errore tra le braccia del Conte. Manrico si del rogo della madre morente, ma, resa folle

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dal dolore, dal senso di colpa e dall’orrore, di rapimento con i suoi seguaci perché la di lei ha il potere di vendicarsi sia dell’assassina Manrico 13 . Mentre il Conte dà ordine che aveva invece ucciso il proprio bambino. donna possa appartenere solo a lui 15 – 17 . di suo fratello sia dell’odiato rivale 4 . Manrico venga liberato, si avvelena 14 . “E chi son io?” chiede Manrico. “Tu sei mio Rassegnata nel suo dolore, Leonora dice Azucena viene trascinata via per essere arsa figlio!” mente Azucena, tentando ansiosamente addio alle sue amiche 18 . Viene sorpresa dal viva. Scena 2. Nella prigione di cambiare la sua storia appassionata e Conte, ma l’agguato viene sventato dalla Manrico tenta di consolare Azucena, ancora adducendo come prova le sue cure materne e il miracolosa comparsa di Manrico 19 . I suoi Scena 2. Sala adiacente alla cappella di Castellor tormentata dal ricordo del destino della madre fatto che lo abbia salvato dal campo di seguaci disarmano il Conte e Manrico rapisce Nonostante la battaglia sia sempre più vicina, che adesso attende anche lei 15 . La donna sa battaglia e curato le sue ferite. La donna Leonora. Manrico e Leonora stanno per sposarsi 5 – 6 . di essere vicina a morire, ma si addormenta rimprovera Manrico di aver risparmiato la vita Ruiz riferisce che Azucena è stata catturata e sognando i monti della sua patria 16 . Entra del suo rivale la notte che lo aveva battuto a Parte III. Il figlio della zingara che la sua esecuzione sul rogo è imminente. Leonora per dire a Manrico che è libero di duello, solo per farsi ferire dagli uomini del Scena 1. L’accampamento del Conte di Luna Manrico confessa a Leonora che è sua madre andarsene subito, ma che lei deve restare. Conte di Luna nella battaglia successiva. fuori dalle mura di Castellor ad essere in pericolo. Sospende il matrimonio e All’inizio il trovatore la rimprovera Manrico cerca di spiegare che una voce interna I soldati del Conte si riposano prima del chiama i suoi soldati per tentare subito di amaramente di aver tradito il loro amore 17 gli ha trattenuto la mano in quell’occasione, previsto attacco alle postazioni dei ribelli a salvarla 7 . ma il veleno comincia a fare effetto ed egli ma giura che non risparmierà un’altra volta il Castellor 1 . Ferrando promette loro un ricco capisce che la donna si è sacrificata per suo rivale 13 . bottino con il saccheggio. Il Conte è Parte IV. Il supplizio salvarlo 18 . Quando il Conte scopre che è Un messo consegna una lettera. I ribelli tormentato dal pensiero che Leonora si trova lì Scena 1. Un’ala del palazzo dell’Aliafería stato ingannato e che Leonora sta morendo hanno preso la fortezza di Castellor e Manrico con Manrico 2 . Il tentativo è fallito. Manrico è stato catturato. davanti ai suoi occhi, ordina l’immediata deve difenderla. La lettera aggiunge che Azucena viene scoperta mentre si aggira È notte. Ruiz accompagna Leonora all’interno esecuzione di Manrico e trascina Azucena a Leonora, credendolo morto, sta per entrare in dietro le linee e viene portata dentro per essere della fortezza e le indica la torre in cui si trova testimoniarla con i propri occhi. La zingara convento quella sera stessa. Nonostante le interrogata; è sospettata di essere una spia. imprigionato il trovatore 8 . La donna rivela finalmente la verità: “Egl’era tuo fratello! proteste di Azucena 14 , Manrico si precipita a Inizialmente il Conte dimostra una certa manifesta una tranquilla determinazione 9 . Sei vendicata, o madre!” salvare la sua innamorata. solidarietà per la povera zingara di Biscaglia e Mentre viene intonato un solenne Miserere 10 spera che possa sapere qualcosa del fratello si sente la voce di Manrico che canta un © 2000 Nicholas Payne Scena 2. Il chiostro della Croce a Castellor rapito vent’anni prima 3 . Solo quando ultimo addio. Leonora decide di salvarlo 11 . Traduzione: Emanuela Guastella Il Conte, infuriato nel vedere respinta la sua Ferrando riconosce in lei la sospetta assassina Arriva il Conte per controllare i preparativi per passione e convinto che Manrico sia morto, è di Garzia e Azucena inavvertitamente fa l’esecuzione dei suoi due prigionieri 12 e Alan Opie ha studiato presso la Guildhall anche lui deciso a impedire a Leonora di appello all’assente Manrico perché salvi sua rimane stupito di trovare Leonora. La donna si School of Music and Drama e il London prendere il velo. Ha organizzato un tentativo madre il Conte si rende conto che attraverso offre a lui in cambio della liberazione di Opera Centre. Prima ancora di terminare gli

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studi è diventato baritono solista presso Grammy, le sue numerose incisioni Sarastro, Biterolf (Tannhäuser), il Dottore Nel 1990 ha esordito alla Metropolitan Opera l’English National Opera ed è stato membro comprendono, per Opera Rara, Christopher (Wozzeck), Arkel, Kecal (La sposa venduta), di New York ne Il trovatore e qui ha fatto della compagnia per oltre venticinque anni; Columbus (un pastiche di musiche di Ebn-Hakia (Yolande/Iolanta) e Sir Walter ritorno ogni , interpretando, tra l’altro, dal 1996 è suo ospite regolare. Il suo Offenbach) e Robinson Crusoe di Offenbach; Raleigh (Gloriana) oltre a comparire nella Don Giovanni, Stiffelio, Un ballo in maschera, repertorio comprende i ruoli di protagonista per Chandos Peter Grimes (che ha vinto un prima britannica della Jérusalem di Verdi. Per La forza del destino e il ruolo di protagonista di en titre del Barbiere di Siviglia, Falstaff premio Grammy), Billy Budd, The Rape of English National Opera ha interpretato i ruoli Turandot, che ha cantato anche alla Royal (candidato a un premio Olivier) e Doktor Faust Lucretia, Martin’s Lie (Menotti), Troilus and di Cadmus (Semele), Arkel e ruoli in Les Contes Opera, Covent Garden, l’Opéra national de di Busoni, oltre a quelli di Don Alfonso, Cressida (Walton), Guerra e pace (Prokof’ev) e, d’Hoffmann, Doktor Faust, Wozzeck e Billy Paris-Bastille, a Firenze e nella Città proibita di Papageno, Dr. Malatesta, Don Carlo (Ernani), in associazione con la Peter Moores Budd. Le sue numerose registrazioni Beijing. Ultimamente ha cantato Aida al Germont, Melitone (La forza del destino), Foundation, Maria Stuarda, Il barbiere di comprendono, per Chandos, Troilus and Metropolitan e Ariadne (Ariadne auf Naxos) Ford, Sharpless, Eisenstein, Dr Falke, il Siviglia, Rigoletto, Pagliacci e La bohème. Cressida (Walton), Billy Budd e, in associazione con l’Orchestra Filarmonica di Israele. È violinista (Die Königskinder di Humperdinck), con la Peter Moores Foundation, Don Pasquale comparsa in concerto con i principali musicisti Valentin, Kovaliov (Il naso di S˘ostakovic˘) e Il basso Clive Bayley ha studiato presso il e Boris Godunov (momenti salienti). del mondo e ha al suo attivo una ricca e Balstrode (Peter Grimes). È comparso con le Royal Northern College of Music, si è apprezzata discografia, che comprende Falstaff principali compagnie operistiche britanniche e affermato nei principali teatri concertistici e Sharon Sweet, soprano drammatico, ha per la direzione di Sir Colin Davis. nei teatri lirici di tutta Europa (tra cui l’Opera lirici della Gran Bretagna ed esteri e ha iniziato la sua carriera internazionale con nazionale della Baviera di Monaco, l’Opera sviluppato un repertorio che va da Monteverdi un’interpretazione in concerto di Aida a Dopo aver studiato canto presso il Royal nazionale di Vienna e il festival di Bayreuth), a Birtwistle. Ha esordito con la Royal Opera, Monaco e ha continuato con interpretazioni di Northern College of Music, il soprano Helen oltre che a Chicago e a New York Covent Garden nella prima mondiale di successo dei ruoli di Leonora (Il trovatore) ed Williams ha frequentato le lezioni di (Metropolitan Opera). Tra suoi successi più Gawain di Sir Harrison Birtwistle e in seguito Elisabeth (Tannhäuser) alla Deutsche Oper di perfezionamento di Gerald Martin Moore a significativi vanno ricordati Paolo (Simon è comparso nelle vesti di Colline, Hans Flotz Berlino durante la stagione 1986/87. Londra. Ha esordito alla Festival Opera di Boccanegra), Sharpless, Beckmesser (a (Die Meistersinger von Nürnberg) e José Castro Seguivano delle apparizioni all’Opéra di Parigi Glyndebourne nel 1988 nelle vesti di Sashka Bayreuth), Balstrode, il guardacaccia (La fanciulla del West). I suoi numerosi ruoli (Elisabetta di Valois nel Don Carlos), Vienna, in The Electrification of the Soviet Union di (La piccola volpe astuta) e il ruolo di interpretati con Opera North comprendono Zurigo, Amburgo e l’Opera nazionale della Osborne, e vi ha fatto ritorno per cantare il protagonista in Outis di Luciano Berio (al Antinoo (Il ritorno d’Ulisse in patria), Wurm Baviera di Monaco. I suoi ruoli di particolare ruolo di Emmie in Albert Herring. È apparsa Teatro alla Scala e al Châtelet théâtre musical). (Luisa Miller), Sparafucile, Ferrando successo comprendono Norma (Théâtre royal in Peter Grimes al Festival di St Endellion nel Oltre al ruolo di Beckmesser nella (Il trovatore), il Monaco e il grande Inquisitore de la Monnaie di Bruxelles, Roma, Barcellona, 1994. Tra gli altri ruoli vanno ricordati registrazione di Die Meistersinger von Nürnberg (Don Carlos), il ruolo di protagonista en titre Lisbona e Bilbao) e Aida (Arena di Verona e Dalinda (Ariodante) e Amor (Orfeo ed diretta da Sir Georg Solti e premiata con un in Le nozze di Figaro, il Commendatore, San Francisco, in cui ha esordito nel 1989). Euridice) con l’English National Opera; Yvette

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(La rondine) e Seconda Nipote (Peter Grimes in Annina (Der Rosenkavalier) e Guinevere Aroldo, Don Carlo, Radamés, Otello, Rodolfo presso il National Opera Studio. Attualmente tournée in Finlandia) con la Royal Opera, (Gawain di Sir Harrison Birtwistle). Inoltre è (La bohème) e Pinkerton. Gli impegni è solista presso l’English National Opera, dove Covent Garden; Naiade (Ariadne auf Naxos) e comparsa con la Welsh National Opera nell’America del nord lo hanno portato sulle ha interpretato i ruoli di Boggart (The Fairy Prima Signora (Die Zauberflöte) con la Scottish (Dorabella), l’English National Opera scene della Metropolitan Opera di New York Queen), Odoardo (Ariodante), Don Curzio Opera; Helena (A Midsummer Night’s Dream) (Marcellina e Dorabella), la Scottish Opera (nei ruoli di Alfredo, Radamés, Turiddu e (Le nozze di Figaro), Don Ottavio, Tamino, con Opera North; Ellen nella prima mondiale (Cornelia in Giulio Cesare, Sextus ne Canio, tra gli altri), della Lyric Opera di Monostato, Borsa, Cassio (Otello), Remendado di Hey Persephone! ai festival di Aldeburgh e La clemenza di Tito e Adalgisa in Norma), il Chicago, dei teatri lirici San Francisco, San (Carmen), Rodriguez (Don Quichotte di Almeida; infine, Flaminia (Il mondo della luna Festival e la Touring Opera di Glyndebourne e Diego e Vancouver, con le Orchestre di Massenet), Nathaniel (Les Contes d’Hoffmann), di Haydn) con Opera Zuid in Olanda. Ha un ha partecipato ai Promenade Concerts della Philadelphia e Cleveland, le Orchestre Tonik (Le due vedove di Smetana), Missail vasto repertorio concertistico e le sue BBC. All’estero ha cantato all’Opera dei Paesi sinfoniche di Montreal e Ottawa e il Festival (Boris Godunov), Narraboth (Salome), Paris registrazioni comprendono L’elisir d’amore di Bassi (Suzuki), nei teatri lirici di Madrid, di Cincinnati. In Europa è stato ospite (King Priam), Primo Ufficiale (Der Prinz von Donizetti per l’etichetta Chandos in Semper di Dresda (Penelope ne Il ritorno frequente dell’Opera nazionale della Baviera di Homburg di Henze) e Doctor Maxwell associazione con la Peter Moores Foundation. d’Ulisse in patria), Batignano (Penelope), al Monaco, dove ha interpretato, tra l’altro, i (The Silver Tassie di Turnage), tra l’altro. Si è Theater Basel (ruolo di protagonista nel Giulio ruoli di Manrico e Gabriele Adorno (Simon esibito in concerti solistici e oratori ed ha Nata nella regione del Lincolnshire, dopo aver Cesare), al Festival di Aix-en-Provence e al Boccanegra), e ha fatto visita ai teatri lirici di partecipato a diversi festival in tutta Europa, in studiato presso la Royal Academy of Music e il Festival di Musica antica di Innsbruck. Svolge Vienna, Berlino, Bonn, Colonia, Amburgo, Medio Oriente e negli Usa, oltre a comparire National Opera Studio, Anne Mason, molti concerti e la sua discografia comprende Parigi, Nizza, Zurigo, Bruxelles, Oslo, in tutte le principali sale di Londra. Ha al suo mezzosoprano, ha fatto il suo esordio da Emilia di Liverpool di Donizetti e Medea in Barcellona, Oviedo, Verona e Torino. Oltre ad attivo numerose registrazioni audio e video. professionista con Opera North nelle vesti di Corinto di Mayr per Opera Rara. essere un illustre interprete di serate Fenena (Nabucco) e della seconda damigella concertistiche e programmi televisivi, Dennis La carriera di cantante di Geoffrey Mitchell (Die Zauberflöte). Ha esordito alla Royal Nato in Galles da padre irlandese e madre O’Neill ha al suo attivo numerose racchiude un repertorio notevole che spazia Opera, Covent Garden, nel ruolo di Mercedes gallese, Dennis O’Neill è un tenore di levatura registrazioni, tra cui Cavalleria rusticana, dalla musica antica a quella contemporanea e (Carmen) in una tournée dell’Estremo mondiale, specialista verdiano. Ha uno stretto Pagliacci, Tosca, La bohème e un album di che l’ha portato in Scandinavia, Germania, Oriente. Da allora ha interpretato numerosi rapporto con la Welsh National Opera e con la brani solistici per Chandos in associazione con nella ex Cecoslovacchia, in Canada e ruoli per la compagnia, tra cui Marcellina Royal Opera, Covent Garden, con cui ha la Peter Moores Foundation. Nel 2000 ha Australasia. L’esperienza di direzione degli inizi (Le nozze di Figaro), Annius (La clemenza di cantato numerosi ruoli, tra cui Edgardo (Lucia ricevuto il CBE, un’onorificenza britannica. con la BBC lo ha condotto ad un maggiore Tito), Enrichetta (I puritani), Emilia (Otello), di Lammermoor), Jacopo (I due Foscari), Carlo coinvolgimento con i suoi stessi cantanti e Suzuki, Wellgunde (Das Rheingold e (Giovanna d’Arco) Foresto (Attila), Macduff Il tenore Mark Le Brocq, vincitore di diversi inoltre alla creazione del Geoffrey Mitchell Götterdämmerung), Waltraute (Die Walküre), (Macbeth), il Duca (Rigoletto), Gustavo, premi della Royal Academy of Music, studia Choir. Le prime registrazioni sono sfociate nel

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coinvolgimento a lungo termine del Coro con premiate e allo straordinario successo delle sue in Messico con la UNAM Symphony Orchestra. tra cui il belga Prix Cecilia per la Rosmonda Opera Rara, per la quale ha inciso più di tournée. Recenti nuove produzioni da lui dirette d’Inghilterra di Donizetti. Per Chandos ha trenta registrazioni. Il Coro gode di una fama comprendono il Fidelio al Festival della Nuova diretto sette registrazioni di arie d’opera (con sempre maggiore con ulteriore lavoro dalla David Parry ha studiato con Sergiu Zelanda, Maria Stuarda al Teatro di Basilea e Bruce Ford, Diana Montague, Dennis O’Neill, BBC e da case discografiche internazionali. Per Celibidache ed ha cominciato la sua carriera Lucia di Lammermoor alla New Israeli Opera. Alastair Miles, Yvonne Kenny, John Tomlinson la Chandos il Geoffrey Mitchell Choir ha come assistente di Sir John Pritchard. Ha Il suo lavoro in studio di registrazione e Della Jones, le ultime due usciranno nel partecipato a numerose registrazioni nelle debuttato all’English Music Theatre, quindi è comprende la produzione della BBC di 2000 e nel 2001), nonché Faust, Don Pasquale, applaudite serie di Opera in English con il diventato direttore d’orchestra presso la Der Vampyr di Marschner nonché ventuno L’elisir d’amore, La bohème, Cavalleria patrocinio della Peter Moores Foundation. Städtische Bühnen Dortmund e la Opera registrazioni operistiche complete con il rusticana, Pagliacci, Tosca (vincitrice di un North. È stato Direttore Musicale di Opera 80 patrocinio della Peter Moores Foundation. Tra premio) e brani scelti da Der Rosenkavalier, Dal 1932, anno in cui venne fondata da dal 1983 al 1987 e dal 1992 è stato Direttore questi vi sono numerosi dischi per l’etichetta tutte in collaborazione con la Peter Moores Sir Thomas Beecham, la London Musicale fondatore dell’Opera di Almeida. Opera Rara che hanno vinti parecchi premi, Foundation. Philharmonic Orchestra entusiasma il Lavora copiosamente in opere e concerti, a pubblico con le sue interpretazioni a cui livello nazionale ed internazionale. Ha diretto hanno partecipato direttori e solisti di fama diverse produzioni presso la English National mondiale. L’elenco dei Direttori stabili Opera e appare regolarmente con la comprende Sir Adrian Boult, Sir John Philharmonia Orchestra. Nel 1996 ha Pritchard, Bernard Haitink, Sir Georg Solti, debuttato con Così fan tutte al Glyndebourne Klaus Tennstedt e Franz Welser-Möst. L’ultimo Festival, dove nel 1998 ha diretto la prima della serie, Kurt Masur, entra in carica nel mondiale di Flight di Jonathan Dove. settembre del 2000. Dal 1992 la London È un frequente visitatore della Spagna dove Philharmonic Orchestra è residente alla Royal si è esibito in concerto con la maggior parte Festival Hall, mentre da 35 anni è l’orchestra delle maggiori orchestre spagnole. Ha diretto sinfonica residente alla Glyndebourne Festival la prima spagnola di Peter Grimes a Madrid e Opera. La versatilità e la reputazione di nel 1996 la prima produzione spagnola di eccellenza artistica dell’orchestra sono legate The Rake’s Progress. È apparso in Germania, anche al suo impegno pionieristico in Svezia, Paesi Bassi, al Festival di Pesaro in programmi educativi e progetti per la Italia, al Festival Internazionale di Hong Kong, comunità locale, alle numerose registrazioni in Giappone con una tournée della Carmen e

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Dennis O’Neill during the recording sessions Clive Bayley and Alan Opie during the recording sessions

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COMPACT DISC ONE Soldiers (coming forward ) Chorus Solo with Chorus Begin now. That evil woman was rightly punished Chorus Part I. The Duel and for that outrage they made her pay. Servants And the father? Scene 1 Just listen, just listen! Ferrando Ferrando She declared she had come to tell the fortune of A vestibule in the palace of Aliafería; on one side a : Narrative In his grief, he died soon after; to the end, he door, leading to the apartments of the Count di the infant Garzia! was filled with strange forebodings, something Luna. Ferrando and a number of the Count’s Ferrando (speaking) told him the boy had not really perished, and as Servants reclining near the doorway; some Soldiers 2 Heav’n had giv’n my old master two fine The liar! he lay there dying, he made our present master walking to and fro at the back. children who became all his pride and joy; they Day by day the boy grew weaker, torn and give him his word that he’d seek his brother all had a nurse who watched from night till morning wasted by fever. His face was thin and pale, his days… No. 1. Introductory Chorus and Aria by the side of the younger boy. One day, just as shivering and groaning, all the night he lay Ah! ’twas useless. the stars above were fading, she felt danger was suff’ring, by day he shuddered and never Ferrando (to the Servants, who are going to sleep) Chorus of Soldiers near; and she saw by the child as it lay stopped his moaning… She cast a spell upon 1 Wake up, there, wake up, there! What of the girl, was she never seen again? sleeping… him. Remember. The Count himself may find you (The Chorus are struck with horror.) Ferrando sleeping; you know him too well. Sometimes he All the Chorus We chased that gipsy, caught her and bound her, No, she escaped us! If I could but find her, watches all through the night hours, beneath his Who, come tell us, who stood there? that night the fierce flames flared up around justice would be done! Leonora’s window! her. Ferrando Yet though the gipsy died, she left a daughter; Chorus of Servants Chorus of Servants She saw a gipsy there, smould’ring with hatred, she swore revenge for her mother’s slaughter, But are you sure you would know her? We have seen how this jealous passion has driv’n symbols of sorcery, circling her forehead, driven by madness she took a dreadful him to madness. staring with evil eyes upon that infant, Ferrando vengeance! moaning and mumb’ling some foul enchantment. Many years have gone by since these Ferrando One day soon after, Garzia vanished, Trembling with terror, the old nurse screamed happenings… yet I’d know her. This Troubadour who sings at nightfall, here in then we discovered some embers still burning and shouted… the palace gardens, is the rival he fears and curses! in that place where the old gipsy herself had Chorus of Soldiers her calls for succour re-echoed in the distance; Chorus perished. If we could catch her then we would send her in less time than I take to tell you about it, Then in case we grow weary and close our eyes Deep in the ashes, oh God! we uncovered down to hell to her mother. her yelling brought all the sleepy guards to her in sleep, will you not tell us the story of Garzia, the smould’ring skeleton of some poor child. assistance. Ferrando our master’s younger brother? They gave no quarter to the old gipsy Chorus To her mother? Ferrando but chased her from the palace gates without That evil gipsy and her mad daughter, (with a dark voice) Very well, come gather close around. delay. by earth and heaven are now reviled. Men will tell you that the gipsy’s evil spirit

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lingers in this palace and hovers round us; when Ferrando Inez In humble verses like murmured pray’rs skies are dark and gloomy she comes to haunt us The house was deserted, no creature was stirring; There’s danger in this passion, my lady. Oh, tell he sang of his devotion; I listened and I heard a in strange disguises. she stared at him wildly and filled him with me, where did you first see this knight and come name terror… to love him? repeated, it was my own! I ventured near my Servants (with horror) balcony… We know it! Chorus Leonora She stared at him! At the tournament. I saw him dressed in a I saw him, saw him before me! Soldiers (with terror) sombre coat of mail, his shield and helmet bore I knew the joy that angels know, Fernando We know it! no crest or plumage, no one knew who he was, joy until then denied me! …and then she let out such a bloodthirsty yell! yet in the contest he vanquished all rivals. There His glance, his ardent vows of love, Chorus of Soldiers At that very moment midnight sounded… on his brow I placed the crown of laurel. Civil made earth a heav’n for me. Up there on the rooftop men say they have seen (A bell strikes twelve.) war broke out soon after, we met no more. Fled her, Inez like some golden vision seen in my slumbers! My she comes in the shape of a bat or hyena! Ferrando and Chorus All that you tell me fills me with horror, life seemed empty, day followed day… and Ah! Curses on that gipsy, that demon, that you do not know him, be careful. Chorus of Servants then… demon from hell! Ah! In form of a vampire, she’s even more evil, Inez Leonora at daybreak she flies away, back to the devil. (The Servants range themselves by the door, and the What happened? (I cannot.) Soldiers retire to the back.) Ferrando Leonora A servant who struck her became the next victim. Inez Scene 2 I’ll tell you. He dared once to strike at her and ill fortune hit This nameless stranger makes me suspicious. He him! Gardens of the palace; on the right, a marble Cavatina seems to waken some dark foreboding. Try to forget him. He died! In his terror he died! staircase. Dense clouds pass over the moon. Leonora 4 (All are struck with superstitious terror.) No. 2. Recitative and Aria The stars shone in the heav’ns above, Leonora as all the world lay sleeping; Forget him! No never! Chorus of Soldiers Recitative the moon high in her silver realm, Ah! He died! Ah! Inez her lonely watch was keeping… Inez Then in that hour of peace and calm, Ferrando 3 Come, wait no longer. It’s long past midnight, Let me advise you, I am your friend… He died in his terror! She came in the shape of a hurry. The Queen has commanded your sounds of a lute came stealing, Promise! vampire one evening. presence, you heard her. borne on the scented midnight air, his secret heart revealing. Leonora Chorus Leonora I heard a plaintive song of love, To forget him? You speak an unknown language A vampire! Another night will pass and I shall not see him! the Troubadour was there. that love does not understand.

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Cabaletta you shall listen… Courage! This is the hour for Count di Luna Leonora which I have waited! (What’s this?) I love you, I love you! Leonora (He is rushing up the staircase when the sound of a 5 No words can tell the measure Leonora Manrico harp stays him.) of my sincere devotion, …you come so late tonight to join me; my heart I doubt no longer! 7 The Troubadour! The madman! with this new found emotion has been impatient and counted ev’ry moment, Count di Luna my soul is all aflame. but heav’n has guided you here once again to my Romance If you’re a knight, declare yourself. Our fates are joined for ever. embraces. I never will forsake him. Manrico (the Troubadour) Leonora Manrico (amongst the trees) If death should come to take him, Though naught on earth is left me, (Oh heav’n.) Leonora! to join him is my desire. since fate of joy bereft me, Count di Luna I hope for love once more (The moon shines out and shows a knight with Inez (aside) to cheer the Troubadour. Come on, who are you! May heav’n above protect you in all that may closed visor.) Leonora (softly to Manrico) transpire! Count di Luna Trio For pity’s sake! The madman! How dare he! Leonora Leonora Manrico No words can tell the measure etc. 8 Manrico Who’s speaking? You know me well, Inez If I possessed that treasure, (recognising them both, and throwing herself at the (raising his visor) I pray that she may never regret this mad desire. precious beyond all measure, feet of Manrico) Manrico’s my name. then blest for evermore Ah, all these shadows here blinded me and (They ascend the staircase into the palace.) would be the Troubadour! deceived me. Those words were meant for you Count di Luna What, you here? What madness! Count di Luna alone and not for him, believe me! Although I No. 3. Recitative and Romance was mistaken, my vow remains unbroken. You, a rebel, in league with outlaws! Condemned How dare he! I cannot bear it. as a traitor, you dare to trespass here, within our Recitative She has heard him,… comes to meet him! To heav’n above I swear it, my heart is yours alone. royal palace? Count di Luna Recitative and Trio 6 How still the night is. And now our most Count di Luna (to Leonora) Manrico gracious Sov’reign must be safely sleeping… but (The Count wraps himself in his cloak, and You’re raving! Come on then! Call out your guards this there her lady watches! Oh Leonora, there by the Leonora rushes towards him.) moment, sentence your rival to face the Manrico (raising Leonora) window the glow of the burning candles, executioner tomorrow. Recitative Forgive, forgive me! lighting up the darkness, tells me that you’re not Count di Luna sleeping. Ah, how this fire within me fills my Leonora Count di Luna Your hour of death is nearer far than you may soul with yearning! I’ll declare my passion, and Oh, my beloved,… For this he shall atone! think, you madman. Follow!

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Leonora Foolish woman, you told him you loved him! Part II. The Gipsy Who cheers the days of the poor, roving gipsy? Listen! In your love you glorify. etc. Scene 1 Ev’ry word that you have spoken Count di Luna (to Manrico) Canzone All my wrongs and injured pride demand that I has condemned this man to die. A ruined habitation on the border of the Biscayan should kill you. mountains; within, through a wide opening, a fire (While Azucena sings, the Gipsies gather round her.) Leonora is seen; day is dawning. Azucena is seated by the Azucena Leonora Stay a moment and hear my entreaty, fire, Manrico is lying on a low couch at her side, 11 Fierce flames are raging, see how the noisy crowd Ah, stay, I beg you! calm your anger, listen to reason: wrapped in his mantle, his helmet at his feet, a surges around her, eager for slaughter. I, yes, I alone am guilty. sword in his hand, on which he is intently gazing. Count di Luna Cries of derision echo round ev’ry side. Let me suffer for my treason! The Gipsy band is scattered about the stage. Follow me! Kill me, rejoice in your vengeance. Here comes the gipsy, led to the torture. Manrico I will scorn you until I die. No. 4. Chorus of Gipsies Dark fires are shining in all those hateful eyes, I’ll not falter or show repentance, while evil flames are rising to scorch the skies. Lead on! Chorus all your pow’r I now defy! Fierce flames are raging, there stands the sacrifice, Leonora 10 See how the shadowy clouds are flying, clad in her black robe, barefoot and haggard. (What shall I do?) day is returning to light the heavens. Manrico Screams of rejoicing greet her last agony, Night like a widow grown weary of sighing, Count di Luna All his boasting is vain and useless. hear their resounding far down the valley. throws off the garments of pray’r and penance. Follow me! He shall pay, he’ll not escape us; Dark fires are shining etc. for the stranger whose love inspires you, (They take up their tools.) Manrico by love’s pow’r shall be victorious. Let’s start our labours! Chorus of Gipsies Lead on! (They strike their hammers in time on their anvils.) Hopes of triumph have gone for ever. Chorus Bring us… the hammers. Leonora Your last moment on earth is nigh. You sing a tragic song! Who cheers the days of the poor, roving gipsy? (If I should call for help they might arrest him.) Fate has giv’n me this woman to treasure, Who never, never fails him? Who cheers the Listen. by my own hand, I swear, you shall die. Azucena gipsy? Who brings him pleasure? The zingarella! Yet no more tragic than that awful deed of Count di Luna Count di Luna (They rest awhile from their work, addressing the horror which has giv’n my song its story. No! Madness. Foolish woman… How could you love women.) (turns towards Manrico and says in an undertone) 9 Jealous fury and slighted passion him… Bring round the wine-jug; for wine revives our Avenge my death! Avenge my death! fan the flames of my love and longing. All your lifeblood, you cursed villain, etc. strength and spirits, too, and brings new courage. (to Manrico) (The women pour them wine in rustic cups.) Manrico (Exeunt Manrico and the Count, with drawn (Again those mysterious words!) All your lifeblood, you cursed villain, swords; Leonora falls senseless) See how the nectar that flows in our tankards, could not quench this fire within me! sparkles and shines like a miser’s treasure. A Gipsy (to Leonora) End of the First Part More work is waiting! It’s time that we were starting our daily search

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for food, come on, this pathway will lead us to suffer her cruel sentence. phantoms rise up again before me! The Manrico down the valley. My child safe on my shoulder, soldiers… there stood my mother, still writhing Oh God! Your own child! I followed at a distance. in her torment… barefoot… and bleeding… Chorus Azucena In vain I tried to approach her, that message, her dying message. I heard it. You lead us. These bitter mem’ries that haunt me, still make the crowd proved too fierce and pressing, ‘Avenge my death.’ My fingers convulsed with We’ll follow. my blood run cold. in vain she tried to break away terror… snatched up that tiny child, I saw that (They carefully replace their tools in their bags and and give me her blessing. inferno, there I threw him! When I regained my descend from the height, singing as they go.) (Azucena falls exhausted on her seat, Manrico Guards cursed her without pity, senses I felt new life returning, the raging fire Who cheers the days of the poor, roving gipsy? stands for some moments dumb with horror and their blows rained down around her, still faced me, there was the victim burning! But etc. astonishment.) they brought her to that fearful place, when I looked around me, I saw the child I’d there to the stake they bound her. stolen still lying there beside me. No. 5. Recitative and Narrative No. 6. Recitative and Duet At last, in her dying anguish, Recitative ‘Avenge my death’, she cried. Manrico Recitative There, beside you? Manrico (rising) Those words that will not leave me, Manrico remind me still, remind me how she died. If your child perished, who was my mother? We’re alone here. Now tell me more about that Azucena Who am I? sad story! Manrico It was my own child… Azucena Did you avenge her? Azucena (interrupting him) Manrico You are my own son! So you’ve not heard it before? Azucena Ah! But since your boyhood, wars and battles have I stole the child from his father’s palace, and Manrico always kept you far from your people. The tale took him down there with me… I soon had the Azucena And yet, this story… concerns the death of my own mother. She was …my child that I had murdered! fire rekindled. Azucena caught by a certain Count and accused of The story means nothing… When I recall that witchcraft. When his son lay dying, he said that Manrico Manrico morning my mother perished, dark shadows she’d bewitched him. That cruel man condemn’d The fire! Oh God, Your own child! cloud my mem’ry and my lips speak of foolish her to perish in torment. (shrinking from her) Azucena you mean it? thoughts and fancies. Tell me, have I not always Manrico (starts away from the spot with dread) Ah! been a loving mother? Ill fated woman! Azucena Manrico That helpless infant was crying… Vengeance Manrico Narrative Heav’n above forgive your crime. inspired me no longer… And my heart stirred None could deny it. Azucena with pity. That moment I saw my error, Azucena Azucena 12 They brought her, fettered and pow’rless, memories came to haunt me. I beheld those My only, my only child that I had murdered! And if you are still living, who saved you? At

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midnight after your defeat before Pelilla, where then some unknown pow’r detained me, some Manrico (reading) Manrico (puts on his helmet and takes his they said you’d died in the struggle, did I not mysterious voice restrained me, and I shuddered, ‘Our men have captured Castellar; by order of mantle) come to seek you for burial? When I found you my blood ran cold as ice, I heard a strange the Prince you are charged with its defence and Good-bye! there, and saw that you still breathed, were you command as if an angel came from heaven, yes, safety: when you receive this, come as quickly as Azucena not recalled to life through my devotion? For an angel came from heav’n above and you can. This very evening, Leonora, believing No, stay here, listen… months I watch’d here beside you and healed the murmured, ‘Stay your hand’. you to be dead, will take the veil in the wounds from which you were bleeding! neighbouring convent of the Holy Cross.’ Manrico Azucena (despairingly) I cannot… Manrico (with noble pride) Yet no angel voice from heaven shows concern Ah, God in heaven! Wounds I suffered in the battle, they brought for your survival, Azucena me no dishonour, for when our troops were all and if fate again should lead you into combat Azucena (rising) Stay here. defeated I alone faced the foe with none to help with your rival, (What is it?) (with authority) me! At last that vile Count of Luna’s men had show him no mercy, never betray me, Your mother speaks to you! Manrico (to the Messenger) me surrounded, they triumphed, I fell, fell like a always remember you must obey me! Have no 14 You are still too weak to venture Go quickly down to the valley, see that a horse is soldier. pity, plunge this weapon deep into the traitor’s on a lonely path full of danger! ready for me. heart. Show him no mercy and have no remorse, Those wounds of yours, you madman, Azucena strike and kill him, I command you. Messenger once again may wrack you with fever. There’s your reward for the mercy that you Yes! No, I cannot let you suffer, showed him the night you overpower’d him, Manrico you, my life, my very being, then let him escape! What could have blinded Yes, I swear it. I’ll not spare him and my sword Azucena (interposing) ev’ry drop of blood you shed you? Why did your courage fail you? shall find his heart! Manrico! comes from this poor heart of mine. Ah! (The prolonged note of a horn is heard.) Manrico Manrico That is our signal, it comes from Ruiz. I’ll answer. Manrico Oh mother, I hardly know how to tell you! Don’t lose a moment, hurry, and tell them to If I stay a moment longer, (sounds his horn in answer) meet me below there. Azucena then I lose my love, my treasure! You spared his life! You spared his life! Azucena (sits absorbed, unconscious of what passes) (The Messenger departs in haste.) Neither earth nor heav’n has power ‘Avenge my death.’ to divert me from my purpose! Duet Azucena Manrico (to a Messenger, who has entered) Manrico, you’re leaving? Azucena Manrico Tell me your news. How goes the battle, what is Manrico You’re mad! 13 As we struggled he stumbled before me, shamed the outcome? If I stay I lose her… lose Leonora! and humbled he lay at my mercy: in the Manrico starlight my sword flashed above me, poised to A Messenger (giving a letter) Azucena Do not keep me for I must leave you; strike him dead that moment. Then some power, This secret letter will tell you all. (He must be mad!) if I stayed, my tears would grieve you!

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You would see me die before you Scene 2 Ah, the love that I bear her, and how that thought elates me; of a coward’s broken heart. may it bid her fears all depart. the bliss that here awaits me, The cloister of a convent. Trees at the back. Night. May the brightness of her glances no mortal man has known, The Count, Ferrando and several Retainers enter Azucena calm the tempest in my heart. no mortal man ever yet has known. furtively, wrapped in their cloaks. No, I cannot let you suffer. (A bell is heard.) Though heav’n is now my rival, You hear that! Oh heav’n! the cloister shall not claim her, No. 7. Recitative and Aria Manrico not God himself shall gain her, Ferrando If I lose my love, my treasure, Recitative for she is mine alone. you would see me die before you That bell means they’re coming to the chapel. Count di Luna of a coward’s broken heart. Count di Luna Ferrando and Chorus of Retainers 15 All is deserted, and no sound of praying disturbs Before she reaches the altar we must seize her! The hour has come, etc. Azucena the air of quiet… I’m here in time then. No, I cannot let you leave me, Ferrando Count di Luna Ferrando you, my life, my very being, Be careful! My hour of joy approaches, etc. ev’ry drop of blood you shed This mad adventure still may prove too comes from this poor heart of mine. dang’rous. Count di Luna Ferrando and Chorus of Retainers Silence, I tell you! Obey me! Hide yourselves and The hour has come and we obey! etc. Stay here beside me! Count di Luna keep out of sight for now. I know it, yet tortured by my passion, spurred Manrico (Ferrando and the Retainers go to the back.) Count di Luna on by injured pride, my heart knows no fear. No, no, do not keep me! In a moment she will be mine! Oh, how that Not even God in heav’n above me With Manrico dead, there seem’d to be nothing thought inflames me. can rob me now of all I prize, etc. Azucena remaining to thwart my wishes, but now a new Now away, go hide yourselves, go hide among Your mother calls you. Ah! Stay, I beg you, your and pow’rful barrier divides us… the convent. (He anxiously watches the door, from which the shadows and obey. Away! own mother commands you to stay, oh stay, I No, no! No one else shall claim Leonora! She is Leonora is to enter.) mine, I swear it. pray. Oh, stay here by your mother. Ferrando and Chorus of Retainers No. 8. Finale Aria 17 The hour has come, no more delay, Manrico we’ll hide away, like shadows in the night. Chorus of Nuns Count di Luna 18 I cannot lose my love! Release me, farewell, oh The hour has come, be silent all. Here in this world of sorrow, 16 In the stars that shine above me mother, farewell now. Oh mother, farewell now. My lord is here, be silent and obey! daughter of Eve remember, there’s no rival to her heav’nly radiance; death’s solemn hour will show you (Exit Manrico, Azucena trying in vain to detain all her smiles, whose charms delight me, Cabaletta all earthly joys are vain, him) give me new courage, give me courage in her Count di Luna life is an empty shadow, presence. My hour of joy approaches, nothing but dreams remain.

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Count di Luna comfort my sorrow, then after pray’rs and Is this a dream, a fantasy, a magic spell that Leonora Not God in heav’n can rob me now humble repentance I may implore Him one day binds me! Am I in heav’n there by your side? for she is mine and mine alone! to reunite me with my loved one on high. So My heart can scarcely bear this joy that here to My heart dare not believe this joy, is this a weep no longer, lead the way to the altar. me is given! dream, a dream of love, am I in heaven, have Ferrando and Retainers of the Count (hidden Have you come down from Paradise, am I in you come down from heaven above, or else I am behind the trees) (turning to go) heavn’n beside you? there by your side? No more delay! My lord commands and we obey! Count di Luna (suddenly interrupting her) Have you come down from Paradise, am I there Chorus of Nuns No, ah no! beside you? Inez (to Leonora) Come, leave the world for ever, Now gracious heav’n, in whom you trusted, Inez and Chorus of Nuns put on the veil we offer, Count di Luna sends you aid in this sad hour. Our Lord has The Count! here you will find seclusion, So, now the dead return again from hell’s heard your pray’r. infernal regions! here you will find release, Leonora Manrico come, turn your eyes to heaven, Gracious heav’n! Manrico The foe was still confounded, for heav’n sent me heaven will give you peace. Count di Luna Neither from heav’n nor hell do I come to spoil aid. Count di Luna My own bride you shall stand before the altar. your pleasure. Not God in heav’n etc. Count di Luna Inez and Chorus of Nuns Count di Luna If you still live and life is dear, then never cross Ferrando and Retainers of the Count What impious language! Or can it be that Satan rejects you from his my path again, forget this woman. No more delay! etc. legions. Leonora Ferrando (to the Count) Manrico (Enter Leonora with Inez) Aren’t you ashamed you dared come here? You have defied your fortune, but all in vain, her Your hired assassins thought that they had killed defender is at hand. Recitative Count di Luna me at Pelilla! I come to claim you. Leonora Count di Luna Chorus of Nuns (to Leonora) Why are you weeping? (The Troubadour appears.) If you still live and life be dear to you, then you Now gracious heav’n in whom you trusted sends Inez All except the Count must forget this woman and never cross my path you aid in this sad hour. Our Lord has heard Leonora, you now leave us for ever. Ah! again. your pray’r. Leonora Concertato Manrico Chorus of Retainers of the Count Dearest companions, no comfort, no earthly Leonora Fiercer and fiercer grew the fight; though you You have defied, yes, defied your fortune and the pleasure, no hope is left me since he is dead. I 19 Oh, can it be, can I believe I see you here beside had me surrounded, the traitors were might of heav’n above, but all in vain for her pledge my life to the Lord, for He alone can me! confounded, for heaven sent me aid. defender is at hand.

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Ruiz and the Followers of the Troubadour Count di Luna Count di Luna All the Soldiers Long live freedom! And the torments of hell… …will be for ever mine. Soon we’ll start the battle raging round the walls of Castellar. Manrico Inez and the Chorus of Nuns Ferrando and the Retainers of the Count My friends, you are welcome! Ah! Yes! Our Lord himself has heard your pray’r. Leave her, stay here no longer. Ferrando These are your orders; our noble captain Ruiz Manrico End of the Second Part commands that at break of day we make an Follow! May you suffer, yes, may you suffer in grief and assault on the fortress. When Castellar is taken despair. Manrico (to Leonora) rich plunder shall be yours, beyond believing. At Come, Leonora. Ruiz and the Followers of the Troubadour (to daybreak tomorrow! Manrico) COMPACT DISC TWO Count di Luna (opposing him) Soldiers Follow! Follow, for you will be safe in our care. Would you cheat me… We will fight and conquer! Part III. The Gipsy’s Son Count di Luna Leonora Ferrando and Soldiers And the torments of hell, will for ever be mine. Scene 1 Ah! Let all the trumpets set echos replying Ferrando and the Retainers of the Count (to the The camp. At the right the Count’s tent, with a when they summon us to battle and to plunder. Manrico Count) banner floating at the top, in token of command. High on the walls let our banners be flying Stand back there… Leave her! Leave her, for brave men must In the distance the towers of Castellar. while our guns rage and roar like the thunder. Count di Luna (draws his sword ) sometimes forbear. Never before has our triumph seemed brighter, …of my own rightful prize! No! No. 9. Chorus of Soldiers nor our hopes of success so assured: Leonora Booty and treasure now wait for us yonder, Ruiz and the Followers of the Troubadour Have you come down from Paradise, am I there A Party of Soldiers fame and glory shall be our reward. He’s raving! beside you? 1 Though today we take our leisure, Honour and glory shall be our just reward. Have you come down from heaven, am I there Let all the trumpets etc. Ferrando and the Retainers of the Count dawn will bring a sterner pleasure. by your side? Fortune smiles on us all. Be careful, my lord! Another Party of Soldiers (brightening their We shall obey duty’s call, Inez and the Chorus of Nuns (Ruiz and the Troubadour’s Followers surround and armour) fame and glory our reward etc. disarm the Count.) Our Lord has heard your pray’r. Swords that now are bright and shining, will have tasted blood by morning. Manrico No. 10. Recitative and Trio Count di Luna (with furious gestures) (A strong band of armed men cross the back of the Follow, oh my beloved. Jealous rage drives me mad with desire! stage.) Recitative Leonora Ruiz and the Followers of the Troubadour Our reserves have come to join us. Count di Luna How he scares me… terrifies me… ah, terrifies me. Follow, we will watch o’er you! They have come from near and far! 2 She’s in my rival’s arms! That thought torments

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me, it pursues me like some demon, I cannot Azucena (her hands bound, is dragged on by Ferrando Azucena escape it. ‘She’s in my rival’s arms.’ Tomorrow, at Guards) (Biscaya! Could we have found her?) (Ah!) the first sign of daylight, they part and part Have mercy! Let me go now, ah, let me go now! Trio Ferrando (noticing Azucena’s terror) for ever. Oh Leonora. What harm have I done? (Yes!) (Enter Ferrando. A confused noise is heard.) Azucena Count di Luna What news? 3 Though my life was poor and lowly, Count di Luna Come nearer… I was happy and contented So you can tell me nothing? (Azucena is led before the Count.) Ferrando but alas my son has left me Answer my questions, and do not tell me lies. Azucena A gipsy woman has been seen around the camp all alone and unprotected. Nothing… No! Allow me to continue on my today. As soon as she knew we were suspicious Azucena On I go, sad and forsaken, journey. she tried to evade us. The soldiers thought the Ask then? searching paths he may have taken, gipsy was a spy sent by the traitors… they gave ev’ry day I hope to find him, Ferrando Count di Luna chase. all my grief he cannot know. Keep her prisoner! Where were you going? Fonder love than I still bear him, Count di Luna Azucena Azucena no mother’s heart on earth could show. Then what happen’d? (Oh God!) Who knows? Ferrando Ferrando Ferrando Count di Luna (There’s a likeness!) For here at last we’ve caught the wretch who did They caught her. Answer! Count di Luna that cruel murder. Count di Luna Azucena So you’ve lived for many years there in Biscaya? Count di Luna And have you seen her? Ev’ry gipsy is accustomed to wander where she Azucena You’re certain! pleases, in every land a stranger, her roof the sky Many, yes! Ferrando above, the whole world her country. Ferrando No, but the leader of her escort gave me that Count di Luna I’m certain! message. Count di Luna Would you remember many years ago a child of (The noise draws near.) Where’re you from? noble fam’ly was abducted from his palace, and Azucena (aside to Ferrando) Silence! Here she comes. Azucena was taken to those same mountains? From Biscaya; deep in the wild, barren Ferrando (aloud) Chorus of Guards Azucena mountains of that region I found a refuge. There stands the fiend who killed your brother! Come on, you gipsy, come on there… come on Who are you, tell me… who? there. Count di Luna Count di Luna Count di Luna Come on there! (From Biscaya!) The brother of that infant. Ah! Murderess!

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Chorus Ferrando Azucena Scene 2 Seize that gipsy! Kill her! Kill her! Release me from these cruel bonds, etc. A hall in Castellar, a window at the back. Count di Luna Azucena Count di Luna No. 11. Recitative and Aria He is lying. What triumph! The mother of Manrico! Recitative Count di Luna Cabaletta Ferrando Leonora But this time you shall not escape us. Azucena For you the fires are burning… 5 But what mean all these sounds of war around us? 4 Ah! Release me from these cruel bonds, have Azucena Chorus Ah! mercy, I implore you, Manrico have pity on my torment or I shall die before For you the fires are burning, We are in danger, I can no longer keep it secret! from hell there’s no returning. Count di Luna you! For at the break of day Luna’s men will attack us. You hateful son, more evil than your hated father. Now bind her arms securely! Count di Luna Leonora Tremble! For God will spare the poor. That treacherous seducer… (The Guards obey.) Tremble! His vengeance will fall upon you all. Alas, how dreadful! Azucena Count di Luna Ferrando, then Chorus Manrico Have pity, have pity! The treacherous Manrico is your son, you crazy …and you cannot escape them! Have no fear, for tomorrow we shall triumph. gipsy, and so with ev’ry pang you suffer… Though our foe be brave and strong, we shall be Chorus Count di Luna stronger. Howl, you witch! Ferrando and Chorus …for by my brother’s death I swear… (to Ruiz) You murd’rous witch, your time has come, for Go now, prepare for battle. You yourself give the Azucena Ferrando you a pyre will soon be burning. orders, until I join you. See all is ready. My son, where are you? Oh Manrico, come and In never ending agony… help me, come and save me, save your most Count di Luna (Exit Ruiz) Chorus unhappy mother! …I will wound him to the heart! In never ending agony your soul shall burn for Leonora Your capture proves a blessing, Count di Luna evermore. What unhappy shadows have come to cloud our bringing joy past all expressing, You’re the mother of Manrico! marriage. for by my dear brother’s death I swear, Count di Luna Ferrando I’ll have my vengeance at last. …I’ll have revenge at last. Manrico Kill her! Come, forget all these horrors, dear Leonora! Ferrando and Chorus (At a sign from the Count, Azucena is led off by the Count di Luna And after that there’s hellfire, Guards, while he enters his tent, followed by Leonora A pris’ner in my pow’r! from whence there’s no returning! Ferrando.) How can I?

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Manrico (Ruiz enters in haste.) Manrico I come to save you, to save you or die. Our love and our devotion in time of danger will The villains! The thought of such a deed drives Ruiz Ruiz with Soldiers sustain and inspire us. me nearly mad with fury! Go out there, Ruiz, Manrico! We all are ready ro fight beside you, to save her and call our men to arms. Go! Go! Hurry! Aria or die. Manrico Hurry! Manrico Manrico Yes! (Exit Ruiz in haste) 6 When holy church has blessed our love, To battle, to battle, to battle! our hearts will grieve no longer, Ruiz Cabaletta That gipsy, hurry, she’s now their pris’ner. Ruiz with Soldiers a sterner faith will fire my soul, Manrico To battle, to battle! my arm will fight the stronger. Manrico 7 That fierce inferno, her cruel sentence, Away to victory and triumph! But if within in the book of fate Oh heaven! fire me with fever, set me aflame! my name has been recorded (Exit Manrico in haste, followed by Ruiz and the Ruiz Ruffians repent this deed, or I’ll have vengeance, Soldiers, amid a din of arms, the trumpet calling to as one of those who fall today, your blood shall wipe out insult and shame! alone and unrewarded, And Count di Luna’s men have made a fire to battle) burn her. (to Leonora) then in that hour when death is near, She loved me dearly, I’ll not desert her; End of the Third Part my thoughts to you will quickly fly. Manrico all your entreaties I must deny. Take heart, my love, and have no fear, My strength has gone from ev’ry limb… Ill fated mother, snared by that traitor, Part IV. The Torture we meet again on high. (approaching the window) I come to save you, save you or die. …darkness is closing round me. Scene 1 (organ in a chapel close at hand ) Leonora A wing of the palace of Aliafería; on one side a Leonora You cannot know how this has hurt me, if you Leonora tower with casements, secured by iron bars. Dark You’re trembling! forsake me then I shall die! The sound of solemn harmony… night. Manrico Manrico (Exit with Inez) The sound of solemn harmony… Leonora!…Learn the truth… I am… Manrico No. 12. Recitative and Aria Leonora Leonora That fierce inferno, etc. …tells all the joy of faithful love! (Enter Leonora and Ruiz enveloped in cloaks) Well, who? (Ruiz returns with Soldiers.) Manrico Recitative Manrico Ruiz with Soldiers …the joy of faithful love! Ruiz (in a whisper) …her son! To battle! To battle! May heaven guard us all. Leonora and Manrico 8 We’re there now; this is the fortress, here all the Here we shall gain the grace and blessing of Leonora Manrico captured rebels await their sentence. Ah, he is heav’n above! Ah! Ill fated mother! imprisoned there in that tower.

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Leonora Leonora Manrico No. 13. Recitative and Duet Go now, leave me here. Have no fear for me, I That sound and those voices, Faithful to vows we plighted A door opens from which enters the Count, followed beg you, perhaps I still can save him. that hymn for the dying I meet my death today, by attendants; Leonora stands aside. (Ruiz retires.) re-echoes around these walls never forget me, pray, Why fear for me? The poison here in this ring and chills me with fear! farewell my love, my Leonora, farewell! Recitative protects me. It stifles my breathing, (fixing her eyes upon a ring that she wears on her my courage is failing, Leonora Count di Luna (to his attendants) 12 right hand) I know that his last hour Can I forget you? Can I forget you? Now hear me! Bring the man down at dawn and The night’s dark shadows hide me, you do not on earth now is near. behead him, then to the flames with his mother! Manrico know that I am watching, that I am near you. (The attendants enter the tower.) Manrico (from the tower) Faithful to vows we plighted, You gentle breezes that sigh around me, in pity It may be true that I abuse the power the King Ah! I meet my death today. tell him of all my love and my longing. conferred upon me, but love for this woman When will death console me, Never forget me. drives me to all this madness. And now I’ve lost Aria when will he set me free? her! We captured Castellar, but she herself has Chorus Life holds no pleasure for me! escaped us. Our search was useless, none of our Leonora Miserere! Miserere! Farewell my love, my Leonora, farewell. spies has seen her. Ah, could I only find her. 9 Breeze of night, go seek him, echo my tears and sighing, Leonora Leonora Leonora (coming forward) pray, tell the captive Troubadour Oh heav’n! How can I bear it? Oh God, have mercy. Can I forget you? Seek her no longer! my love shall be undying. My love, my love, how can I forget? Chorus Count di Luna Send hope and consolation Lord, have mercy upon a soul departing etc. Cabaletta to cheer his desolation. Can this be… really… Leonora? Leonora Recall our treasured mem’ries, Leonora Leonora Now death is approaching our dreams of love, 11 You will see that my devotion No other! but, here tonight, he must never know that horrible tower, here on earth has known no equal. the pain in my heart. the sound of his beating wings Fate has yielded to its power. Count di Luna is over my head, Death itself shall not prevail. Why have you come here? (The death bell sounds.) and for my beloved I myself will buy your freedom the gates of the prison Leonora Chorus at the price of my poor life; When he is doomed to die tomorrow, how can 10 will never be opened Lord, have mercy upon a soul departing should we not be reunited you ask me? for that abode from which there’s no returning; until he is dead. then the grave shall end the strife. Lord, have mercy and with Thy love sustain him, Chorus If nevermore united, Count di Luna grant that the fires of hell may never claim him. Miserere! Miserere! the grave itself shall end the strife! You dare defy me?

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Leonora Count di Luna Leonora Leonora Yes, I implore you to spare Manrico! Ah! Could he die a thousand deaths, One price there is, one only, and that I offer. (A cold and lifeless body will await you.) I’d never be contented, Count di Luna Count di Luna Count di Luna (turning back to Leonora) by all the pangs of hell itself You are raving! You are raving! What’s the price you offer? Speak! 14 The man shall live. I’d still have him tormented. Leonora Leonora (extends her hand to him, with grief) Cabaletta Leonora Oh, spare his life! Myself! Kill me then! Leonora (aside, with joy) Count di Luna Count di Luna (He lives! I cannot speak for joy, Count di Luna Ah! How could I spare my rival’s life? What? Do you mean it? I thank you, heav’nly Father, You love him and so my jealousy with wildly beating heart Leonora now burns fiercer than before, Leonora I tell you of my fervour! May heaven move your heart to pity… you love him and your devotion I vow that I will keep my solemn promise. I wait for death without alarm. condemns him for evermore. Joy has replaced my sorrow. Count di Luna Count di Luna Leonora Can I be dreaming? I’ll say as I am dying Not even heav’n can move me, my God is one of that I have set him free!) vengeance. Let all your vengeance fall on me, etc. Leonora Count di Luna Leonora Count di Luna Now let me climb the stairway to the tower, to What does this mean? Come tell me now, Have pity, have pity and hear me, I pray! All your entreaties cannot save the Troubadour! tell him that he’s free and release him. Then I’m repeat your solemn promise, yours! Leonora tell me I’ve not been dreaming, Count di Luna dreaming of folly and madness! Go! Go! Go! Have pity and spare him, etc. Count di Luna (The Count is going, but Leonora clings to him.) You swear it? Leonora Duet Listen! (He lives!) Leonora Leonora (throws herself in despair at his feet) Count di Luna To God I swear it, He knows all my innermost Count di Luna You’re mine, you’re mine, repeat those words 13 See all these bitter tears of mine, It’s useless… secrets. that all my doubts may vanish. see all the grief I suffer, Leonora if this should fail to move your heart, (A guard appears, to whom the Count whispers.) I cannot yet believe it, Pity! can what you say be true? then take the sacrifice I offer… Count di Luna Kill me, kill me, and take the sacrifice I offer… Count di Luna You there! Leonora Let all your vengeance fall on me, No price on earth can buy your lover’s freedom! (He lives! I cannot speak for joy, but spare the Troubadour! Leave me now! (Leonora takes poison from the ring.) I thank you, heav’nly Father!

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I’ll say as I am dying Azucena Manrico Azucena that I have set him free! No, but in this tomb of the living I feel my There’s no one, do not be frightend… 16 Yes, let me sleep for my limbs are weary… With my last breath, I’ll tell my love breath is stifled, and I long to escape and gain then all these fears will no more come near me, that I have set him free!) my freedom. Azucena but if that fire once more be lighted, Let’s go! Let’s go, and I’ll keep my sacred vow. They’ll burn me… and you should see it, rouse me, I pray. Manrico (wringing his hands) Count di Luna Escape! Manrico Manrico Come, close your eyes, and then in your Oh, say again your solemn promise, Azucena (rising) There’s no one, I assure you. slumber, visions and fears will vanish away. ah, and tell me that you are mine for ever! Do not lose courage. My cruel tormentors have Azucena Remember, you have sworn! no power to harm me. They’ll burn me! They’ll burn me! Azucena (between sleeping and waking) (They enter the tower.) There in our mountains, deep in Biscaya, Manrico Inhuman torture! new peace and solace we shall discover… And why not? Manrico and you will sing me songs of your childhood, Scene 2 Azucena Oh mother, oh mother! there I shall sleep again far from all care. A gloomy dungeon, with a barred window; a door See here… see upon my forehead the hand of Azucena Manrico at the back, a dimly burning lamp hangs from the death has mark’d me, my life is nearly ended. One morning, bloodthirsty murd’rers dragged Rest now, dear mother, calm all your terrors, ceiling. Azucena reposes on a rough pallet, Manrico Manrico my mother from prison to burn her! Look at all I know that heav’n will answer your pray’r. seated near her. Ah! those flames around her! She is already on fire! Azucena Her hair is burning, the sparks fly up above No. 14. Finale IV Azucena (speaking) There you will sing me the songs of your They’ll find nothing… but a rotting corpse… her… her eyes are full of terror, and they start childhood. Duet silent, from their sockets! Ah, this nightmare torments There I shall slumber, far from all care. me. Manrico (with fierce exultation) (by degrees falls asleep) 15 Mother, not sleeping? motionless, almost a skeleton! (falls overwhelmed into the arms of Manrico) There I will sleep far from all care. Azucena Manrico Manrico Manrico Slumber still evades me, this dreadful night I Stop now! If your own son can still bring you comfort, if The power of heav’n will answer your pray’r. have passed in watching… praying. you are still the mother who loved me, then I know that heav’n will answer your pray’r. Azucena forget all those horrors, come rest awhile and in Come, rest now, dear mother, Manrico You hear them? They are coming, they will take slumber find peace and comfort. I know that heav’n will hear your pray’r! You are chilled by the dampness and the cold me away… there in the fire they’ll burn me! My around us? son, protect your mother! (conducts her to the couch) (Manrico remains kneeling beside her.)

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Recitative and Trio Leonora Leonora Finale IV Go! Leave me! Do not reproach me! (The door opens, enter Leonora) (Leonora has fallen at the feet of Manrico.) Manrico Manrico Manrico Recitative No! Sold him the love that you promised was mine. 18 Now leave me! Manrico Leonora (rushing to the door) Leonora Leonora Ah! A light is glimmering in the darkness. Go, I tell you! Your anger blinds you and makes you heartless, yet far more cruel is your harsh injustice. Oh, despise me not… see how I’m suff’ring… Leonora Manrico my strength is failing. ’Tis I, Manrico! My Manrico! No! Manrico You trait’ress! Manrico Manrico Leonora Go, I curse the day I ever met you. My Leonora! Leonora Save your life! Leonora Ah, can it be that heaven in mercy sends me this Stay here no longer, not even heaven can now Manrico Manrico, listen! Ah, do not curse, for you should blessing, here before I die? defend you! Go while there’s time! My life is worthless. pray for me, yes, pray that heaven grant me Manrico pardon! Leonora Leonora So you have sold yourself to my rival. You will not die, I’ve come to save you. Leave me, leave me! Manrico Leonora Manrico Manrico That heav’n grant you pardon? What’s this you If you stay here, not even heav’n can save you tell me? Save me? Leonora, how can you? No! now, go while there’s time. Leonora (falls on her face) Leonora Leonora Manrico Manrico! No questions, don’t lose a moment, good-bye Go, I beg you! You sold the love you vowed was mine. now, hurry! Manrico Manrico (flies to raise her) Azucena My life is worthless. But… look this way and let Dear one, speak to me… tell me… (beckons to the door) Ah! Safe in our mountains, etc. me see you… Who grants my freedom? What Leonora Manrico has it cost you? Leonora Death has come to take me! You will come with me? Trio Oh, leave me, leave me, not even heaven etc. Manrico Leonora Manrico Manrico You’re dying! No, I must stay here! No! You have surrendered unto my rival! 17 You will not say? I need no answer… It was my Leonora Manrico rival! I see it. I see it. Leonora Ah! For this ring here contained a swifter poison But why? So you have sold yourself to that tyrant… If you delay, your life is forfeit, not even heav’n etc. than I imagined!

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Manrico Leonora Manrico (led off by the guards) Count di Luna Can this be true? Oh heav’nly Father, pardon a humble sinner. Mother, farewell for ever! He’s perished! Leonora Count di Luna (aside) Azucena (scarcely awake) Azucena Hold me, my hands are frozen… This woman has deluded me and dies to save his Manrico! My son, where are you? Manrico was your brother! life. (touching her breast) Count di Luna Count di Luna but here within me a fire is burning! Leonora So dies the traitor! Ah! God in heaven! Rather than live to be his bride, faithful to you I die! Manrico Azucena Azucena Why have you done this? Manrico Have mercy! Listen… You are avenged, oh mother! Leonora What madness that I have dared to curse this (The Count draws Azucena to the window.) angel from above. (falls senseless by the window) Rather than live to be his bride, faithful to you I Count di Luna die! Count di Luna Count di Luna Look there! And I still live! Manrico This woman has deluded me and dies to save his life. Azucena What madness that I have dared to curse this Heavens! End of the Fourth Part angel from above. Leonora (in agony) Rather than live to be his bride, I die for you, my (The Count enters and stands on the threshold.) Translated by Tom Hammond, love! reproduced by permission of Leonora Manrico! English National Opera Benevolent Fund My strength is failing… Manrico Manrico Leonora! I doubted you! Leonora Leonora Manrico, I love you! My life is over. I’m dying, Manrico! Manrico (seizes his hand in sign of farewell ) Ah! Count di Luna Manrico Ah! God! (signing to the guards to lead away Azucena) Count di Luna (to guards) Ah! Behead the traitor!

122 123 CHAN 3036 BOOK.qxd 22/8/07 3:15 pm Page 124 Richard H. Smith Richard Richard H. Smith Richard

Clive Bayley, Alan Opie, Dennis O’Neill, Sharon Sweet, Helen Williams and Mark Le Brocq with the David Parry and the London Philharmonic Orchestra during the recording sessions Geoffrey Mitchell Choir and London Philharmonic Orchestra during the recording sessions

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Opera in English on Chandos Opera in English on Chandos CHAN 3000(2) CHAN 3004 CHAN 3003 CHAN 3029 CHAN 3008(2) CHAN 3014(3) CHAN 3036 BOOK.qxd 22/8/07 3:15 pm Page 128

Opera in English on Chandos Opera in English on Chandos CHAN 3017(2) CHAN 3019(3) CHAN 3025(2) CHAN 3023(2) CHAN 3011(2) CHAN 3027(2) CHAN 3036BOOK.qxd22/8/073:15pmPage130 Opera inEnglish onChandos

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Chandos 24-bit Recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 24-bit recording. 24-bit has a dynamic range that is up to 48dB greater and up to 256 times the resolution of standard 16-bit recordings. These improvements now let you the listener enjoy more of the natural clarity and ambience of the ‘Chandos sound’.

Vincent Woodstock pipe organ supplied by Abinger Organ Hire Language coach: Charles Kilpatrick Diction coach: Ludmilla Andrew Coach for Azucena: Ian Judge Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Richard Smoker Editor Rachel Smith Operas administrator Sue Shortridge Recording venue Blackheath Halls, London; 16–20 December 1999 Front cover Montage incorporating photograph of Anne Mason by Bill Rafferty and photograph of the 11th-century Castle Loarre in the Huesca province of the Spanish Pyrenees by John Ferro Sims Back cover Photograph of David Parry by Russell Duncan Design Cass Cassidy Booklet typeset by Dave Partridge Mark Le Brocq Booklet editor Finn S. Gundersen Copyright English National Opera p 2000 Ltd c 2000 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU

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