Il trovatore
| Work data | |
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| Title: | The troubadour |
| Original title: | Il trovatore |
Anna Netrebko as Leonora, |
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| Shape: | Opera in four acts |
| Original language: | Italian |
| Music: | Giuseppe Verdi |
| Libretto : | Salvadore Cammarano , Leone Emmanuele Bardare |
| Literary source: | El trovador by Antonio García Gutiérrez (1836) |
| Premiere: | January 19, 1853 |
| Place of premiere: | Teatro Apollo , Rome |
| Playing time: | approx. 2 ½ hours |
| Place and time of the action: | Bizkaia and Aragon , early 15th century |
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Il trovatore (German-French The Troubadour ) is an opera called “dramma lirico” in four parts by Giuseppe Verdi . The libretto by Salvadore Cammarano , completed by Leone Emmanuele Bardare , is based on the play El trovador by Antonio García Gutiérrez (1836). The action takes place in Biscay and Aragon at the beginning of the 15th century.
Prehistory and historical environment
The old Count of Aragón had two sons, Luna and Garcia. Garcia is - as Azucena only reveals at the end of the opera - none other than Manrico. As a toddler Garcia was allegedly put under a spell by a gypsy woman who was burned at the stake for it. In revenge, their daughter, Azucena, stole young Garcia in order to burn him in turn; but in a fit of madness she accidentally burned her own son and kept Garcia with her, whom she raises under the name Manrico.
At that time, Aragón was without a king : after King Martin I died childless in 1410, several pretenders to the throne applied for the crown of Aragón . Fighting broke out during the negotiations that would lead to the Caspe compromise two years later . Jacob II von Urgell did not want to accept this arbitration , so he gathered a mercenary army and fought against King Ferdinand I, who was elected in Caspe .
This is where the action of the opera begins.
Count Luna and Manrico are brothers, which they don't know. As followers of two warring aspirants to the throne, you are also political opponents - Manrico is an officer of the rebellious Count von Urgel [ sic ], who is named in the libretto. In addition, Luna and Manrico are rivals in the fight for the favor of the beautiful Leonora.
The civil war, which plays a dominant role in the opera, ended as early as 1413, i. H. one year after the compromise of Caspe, with the capture of the Count of Urgell, which means that the time of the action can be narrowed down to the years 1412 to 1413.
The locations of the opera are often clearly localized, the Feste Castellor [ sic ] is probably the now only ruined castle Castillo el Castellar ( ⊙ ) northwest of Saragossa.
The plot
First act: "Il duello" - the duel
First picture: vestibule in the castle of Aliaferia
The guards camp wearily in the vestibule of Aliaferia Castle . To keep them lively, Captain Ferrando tells them an episode from the recent history of the Count's House: The father of the current Count of Luna had two sons. The younger, named Garcia, is said to have fallen victim to the magic of a gypsy woman who was sentenced to death at the stake for this reason. In revenge, their daughter stole the young count's son and delivered it to the flames. The charred corpse of a child was later found in the mother's ashes. According to Ferrando, the old count was convinced that his younger son was still alive and, before his death, commissioned the older son to look for the gypsy's brother and daughter.
Second picture: Gardens of the palace
In the evening Leonora confesses to her friend Ines in the park of the castle that she loves the troubadour Manrico. The Count of Luna also seeks Leonora's favor. In the distance, she hears Manrico singing a song and wants to rush to him - but finds herself in the arms of the Count, whom she had taken for Manrico in the dark. When he appears, he thinks she is unfaithful, but she assures him of her love. Then both men realize that they are not only rivals in love, but also political opponents: Manrico is on the side of the rebellious Duke von Urgel. Leonora cannot prevent the duel between the two. Manrico defeats the Count, but does not take advantage of his victory, but is seriously wounded himself in return.
Second act: “La gitana” - The Gypsy
First picture: a dilapidated hut
The gypsies returned to their camp after a battle. There Azucena, whom Manrico nursed to health after his duel, is haunted by the vision of her mother's gruesome fire death. Suddenly she confesses to her adoptive son Manrico that when she was so excited she accidentally turned her own son into the fire, but evades Manrico's further inquiries about his true origin. But Manrico understands that he is not her birth son. Azucena cannot understand why Manrico did not kill the defeated Count von Luna, who continues to persecute him - also for political reasons. The messenger Ruiz reports to Manrico that he has been appointed commander, gives him the order of the Duke of Urgel to defend the Castellor fortress and tells him about Leonora's decision to go to the monastery after learning of the alleged death of her lover on the battlefield. Manrico rushes to her to prevent her from making this decision, although Azucena wants to hold him back because she sees him as weakened after the duel and fears for his life.
Second picture: vestibule of a monastery near Castellor
Leonora is supposed to get the veil from the nuns and says goodbye to Ines. When Count von Luna (Manrico's enemy and rival) wants to kidnap Leonora with the help of his men, Manrico and his followers can prevent this just in time. He disarms the Count and escapes with Leonora. Luna swears revenge on Manrico.
Third act: “Il figlio della zingara” - The Gypsy's Son
First picture: warehouse
In the war camp of the Count of Luna there is an aggressive mood. Manrico and Leonora are at the nearby Castellor fortress, which is supposed to be defended against Luna's army. Your situation is critical. Azucena has been captured, and Captain Ferrando recognizes in her the gypsy who had stolen Luna's younger brother. Azucena is to be burned at the stake.
Second picture: room next to the Castellor chapel
Locked in on Castellor, Leonora and Manrico want to get married. Ruiz then reports Azucena's capture. To save his mother, Manrico orders a raid on the enemy camp.
Fourth act: "Il supplizio" - The high court
First image: A wing of the Aliaferia Castle
Luna's party won. Manrico failed with his attack and was taken prisoner. He awaits the execution in the dungeon of Aliaferia Castle - the Troubadour's tower is still shown in the Aliaferia Castle - together with Azucena. Leonora was able to flee. In order to save her lover, she gives in to the count's declarations of love, but has secretly taken poison.
Second picture: Dark dungeon
Azucena has visions in the dungeon and says goodbye to Manrico. Leonora can still deliver the news of his release to Manrico. But he rejects this hope because she does not want to come with him and he, because he sees through her sacrifice, now believes he has been betrayed by her. Only when she explains her behavior to him and then collapses, dying, does he recognize her loyalty. When Count Luna sees the dead Leonora, he is furious and has Manrico led to the execution. Azucena, who wakes up and is forced by Luna to watch this act, hurls at him “He was your brother!” And collapses. Manrico was the count's kidnapped son, Luna's younger brother. The gypsy's curse has been fulfilled, Luna now has to go on living with his guilt.
layout
Instrumentation
The orchestral line-up for the opera includes the following instruments:
- Woodwinds : flute piccolo , flute , two oboes , two clarinets , two bassoons
- Brass : four horns , two trumpets , three trombones , cimbasso
- Timpani , drums : drum , triangle , bell, hammers on anvils
- harp
- Strings
- Incidental music: two horns, snare drum , organ
Music numbers
First act, first picture
- No. 1. Introduction
- Choir: All'erta, all'erta! (Ferrando, Familiari, Armigeri)
- Racconto: Di due figli vivea padre beato (Ferrando, choir)
- Seguito and stretta dell'Introduzione: E il padre? (Choir, Ferrando)
First act, second picture
- No. 2. Leonora's Cavatine
- Scene: Che più t'arresti? ... (Ines, Leonora)
- Cavatine: Tacea la notte placida (Leonora)
- Tempo di mezzo: Quanto narrasti di turbamento (Ines, Leonora)
- Cabaletta: Di tale amor, che dirsi (Leonora, Ines)
- No. 3 scene, Manrico's romance and trio
- Scene: Tace la notte! (Conte)
- Romance: Deserto sulla terra (Manrico)
- Scene: Oh detti! … Oh gelosia! ... (Conte, Leonora, Manrico)
- Trio: Qual voce! ... Ah, dalle tenebre (Leonora, Conte, Manrico)
Second act, first picture
- No. 4. Choir and Canzone of the Azucena
- Choir: Vedi! le fosche notturne spoglie (Zingari) "Gypsy Choir "
- Canzone: Stride la vampa! (Azucena)
- Scene: Mesta è la tua canzon! (Zingari, Azucena, Manrico)
- Choir: Chi del gitano i giorni abbella? (Zingari)
- No. 5. Narrative of the Azucena
- Scene: Soli or siamo (Manrico, Azucena)
- Racconto: Condotta ell'era in ceppi (Azucena, Manrico)
- No. 6th scene and duet Azucena and Manrico
- Scene: Non son tuo figlio? ... (Manrico, Azucena)
- Duet: Mal reggendo all'aspro assalto (Manrico, Azucena)
- Tempo di mezzo: L'usato messo Ruiz m'invia! (Manrico, Azucena)
- Cabaletta: Perigliarti ancor languente (Azucena, Manrico)
Second act, second picture
- No. 7. Aria of Conte
- Recitative: Tutto è deserto (Conte, Ferrando)
- Aria: Il balen del suo sorriso (Conte)
- Tempo di mezzo: torment suono! ... oh ciel ... (Conte, Ferrando)
- Cabaletta: Per me, ora fatale (Conte)
- No. 8. Finale II
- Chorus: Ah! ... se l'error t'ingombra (Chor di religious)
- Trio : Perché piangete? (Leonora, Donne, Conte)
- Concertato: E deggio… e posso crederlo? (Leonora, Conte, Manrico, Donne, Ferrando, Seguaci)
- Stretta Finale II: Urgel viva! (Ruiz, Manrico, Conte, Leonora, Ferrando, Armati, Seguaci)
Third act, first picture
- No. 9. Choir
- Choir: Or co 'dadi, ma fra poco (Armigeri, Ferrando) "Soldiers' Choir"
- No. 10. Scene and trio
- Scene: In braccio al mio rival! (Conte, Ferrando, Azucena, choir)
- Trio : Giorni poveri vivea (Azucena, Ferrando, Conte, choir)
Third act, second picture
- No. 11. Aria Manrico
- Scene: Quale d'armi fragor poc'anzi intesi? (Leonora, Manrico)
- Aria: Ah! sì, ben mio, coll'essere (Manrico)
- Tempo di mezzo: L'onda de 'suoni mistici (Leonora, Manrico, Ruiz)
- Cabaletta: Di quella pira l'orrendo foco (Manrico, Leonora, Ruiz, Armati)
Fourth act, first picture
- No. 12. Scene and aria Leonora
- Scene: Siam giunti; ecco la torre (Ruiz, Leonora)
- Aria: D'amor sull'ali rosee (Leonora)
- Miserere: Miserere d'un'alma già vicina (Voci internal, Leonora, Manrico)
- Cabaletta: Tu vedrai che amore in terra (Leonora)
- No. 13th scene and duet Conte and Leonora
- Scene: Udite? Come albeggi (Conte, Leonora)
- Duet: Mira, di acerbe lagrime (Leonora, Conte)
- Tempo di mezzo: Conte… - Né cessi? (Leonora, Conte)
- Stretta and Duet: Vivrà! ... contende il giubilo (Leonora, Conte)
Fourth act, second picture
- # 14 final
- Scene: Madre?… Non dormi? (Manrico, Azucena)
- Duettino: Se m'ami ancor… Ai nostri monti (Azucena, Manrico)
- Scene: Ciel! ... non m'inganna quel fioco lume? ... (Leonora, Manrico)
- Terzettino: Parlar non vuoi? ... (Manrico, Leonora, Azucena)
- Final scene: Ti scosta… - Non respingermi… (Manrico, Leonora, Conte, Azucena)
literature
- Rolf Fath: Reclam's Little Verdi Opera Guide. Philipp Reclam jun., Stuttgart 2000, ISBN 3-15-018077-5 .
- Giuseppe Verdi, LE Bardare, Salvatore Cammarano: The Troubadour . Reclam, Ditzingen, ISBN 3-15-004323-9 .
- Giuseppe Verdi: Il trovatore . Reclam, Ditzingen 2009, ISBN 978-3-15-018607-7 .
Web links
- Il trovatore : Sheet music and audio files in the International Music Score Library Project
- Libretto (Italian), Milan 1853. Digitized version of the Munich digitization center
- Il trovatore (Giuseppe Verdi) in the Corago information system of the University of Bologna
- Work information and libretto (Italian) as full text on librettidopera.it
- Plot and libretto of it at Opera Guide landing page for URL upgrade currently unavailable
- Discography of Il trovatore at Operadis
- Brief overview on klassika.info
Individual evidence
- ^ Kurt Malisch : Il trovatore. In: Piper's Encyclopedia of Musical Theater. Volume 6: Works. Spontini - Zumsteeg. Piper, Munich / Zurich 1997, ISBN 3-492-02421-1 , p. 439.
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