Il Trovatore Study Guide

Il Trovatore GIUSEPPE VERDI (1813 – 1901)

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Table of Contents Welcome........................................................................................................................................................... 3 Opera 101.......................................................................................................................................................... 4 Attending the Opera.................................................................................................................................... 5 Characters and Synopsis........................................................................................................................... 7 Genesis of the Opera................................................................................................................................... 9 Listening Guide............................................................................................................................................. 12 What to Look for........................................................................................................................................... 16 COC Spotlight: Sandra Horst.................................................................................................................. 18 Active Learning............................................................................................................................................. 19 Bibliography.................................................................................................................................................... 19

Cover: (l – r) Ines Salazar as Leonora and Vladimir Galouzine as Manrico; Below: Robert Hyman (centre) as the Conte di Luna.

Both photographs from Il Trovatore (OpĂŠra de Marseille, 2003). Photos: Christian Dresse

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Il Trovatore Study Guide

Welcome The Canadian Opera Company returns in 2012/2013 with the ultimate season of drama, mischief, love, horror and sacrifice. In the fall, hear Verdi’s famous and raucous “Anvil Chorus” performed live in Il Trovatore, or escape to a fantasy world of madcap lunacy in Johann Strauss II’s popular operetta Die Fledermaus. Ring in the new year with legendary director Peter Sellars and Ben Heppner, one of the world’s leading tenors, in a poignant production of the greatest love story of all time, Tristan und Isolde, or experience La clemenza di Tito – the final operatic work of classical music’s uncontested rock star, W. A. Mozart. End the year with people losing their heads: hear Lucia hit the high notes of madness with Donizetti’s luscious cascading melodies in the dark and Gothic Lucia di Lammermoor; explore the biblical story of Salome in a celebrated production by Canadian film director Atom Egoyan; and witness the ultimate sacrifice by an order of Carmelite nuns during the French Revolution in director Robert Carsen’s staging of Francis Poulenc’s riveting Dialogues des Carmélites. The season is sure to inspire, shock and ignite the creativity of your students!

New this season: Careers in Opera Spotlight This season each Study Guide features a spotlight on an individual working at the COC. Learn about the many careers in opera and discover how the COC connects to Canada’s cultural landscape.

An evening at the opera is more than a night of entertainment. Opera provides many avenues for thoughtprovoking discussions and can be explored through many subjects beyond the arts, including history, social studies, media literacy, and yes, even science (think acoustics and sound!). The COC’s Study Guides help enhance your students’ visit to the COC by giving them a glimpse into the history, music, themes and stories of the operas, while suggesting ways of putting their learning into practice.

Opera at any stage of life!

The COC runs over 20 programs for school groups, children, youth and adults. Discover more at coc.ca/Explore!

Thank you for choosing to introduce your students to the thrilling and vibrant world of opera. It takes a creative and courageous educator to expose students to innovative subjects beyond the traditional curriculum, and I hope that the COC’s Study Guides become a valuable educational resource for your efforts.

Katherine Semcesen Associate Director, Education and Outreach

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Opera 101 What is Opera?

The term “opera” comes from the Italian word for “work” or “piece,” and it is usually applied to the European tradition of grand opera. Opera is a form of storytelling which incorporates music, drama and design.

Though its origins date back to ancient Greece, the form of opera we are familiar with today started in the late 16th century in Florence, Italy. Count Giovanni de’ Bardi was a patron and host to a group of intellectuals, poets, artists, scientists and humanists including Giulio Caccini and Vincenzo Galilei (father to the astronomer and scientist, Galileo Galilei, who was most famous for his improvements to the telescope).

These individuals explored trends in the arts, focusing on music and drama in particular. They were unified in their belief that the arts had become over-embellished and that returning to the transparency of the music of the ancient Greeks, which incorporated both speech and song, and a chorus to further the plot and provide commentary on the action, would present a more pure, natural and powerful way to tell stories and express emotions.

What are the differences between operas, musicals and plays?

Traditionally operas are through-sung, meaning they are sung from beginning to end with no dialogue in between.

Singers must have powerful voices in order to be heard over the orchestra (the ensemble of instrumental musicians that accompanies the dramatic action on stage during an opera).

Remember: opera singers don’t use microphones!

Musicals are a combination of dialogue and sung pieces and often include choreographed numbers. The singers often use microphones and are accompanied by a pit band which includes more modern instruments like a drum kit, guitar and electronic instruments.

Plays are primarily spoken works of theatre with minimal singing or music.

There are always exceptions to the rule: though Les Misérables is through-sung it is still classified as a piece of musical theatre because of its style of music. By the same token, some operas, like Mozart’s The Magic Flute, have spoken dialogue in addition to singing.

The first opera, Dafne, about a nymph who fled from Apollo and was subsequently transformed by the gods into a laurel tree, was composed by Jacopo Peri in 1597. From then on the early operas recreated Greek tragedies with mythological themes. During the 17th and 18th centuries, topics expanded to include stories about royalty, and everyday or common people. Some operas were of serious nature (called opera seria) and some lighthearted (called opera buffa). Since then operas have been written on a wide variety of topics such as cultural clashes (Madama Butterfly), comedic farce (The Barber of Seville), politicians on foreign visits (Nixon in China), the celebration of Canadian heroes (Louis Riel), and children’s stories (The Little Prince), to name a few.

What does opera feel like?

Take five minutes out of the school day and instead of using regular voices to converse, ask the class to commit to singing everything. Make an agreement with the students that it’s not about judging people’s voices but about freeing our natural sounds. Make up the melodies on the spot and don’t worry about singing “correctly.” Did the musical lines help express or emphasize certain emotions? If so, how?

The COC presents works in the western European tradition but musical equivalents to European opera can be found in Japan, at the Peking Opera in China, and in Africa where it is called Epic Storytelling.

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Il Trovatore Study Guide

Attending the Opera: Make the most of your experience Welcome to the Four Seasons Centre for the Performing Arts Photo: Sam Javanrouh

So you’re headed to the opera, and there are a few questions on your mind. What do I wear? Can I take photos of the performance? How will I understand it – isn’t opera in another language?! Relax! Here are a few tips on how to get the most out of your opera experience.

First, there’s the question of what to wear. Some people think of the opera and imagine the entire audience decked out in ballgowns and tuxes, but that’s just not the case!

People wear all sorts of things to the opera – jeans, dress pants, cocktail dresses, suits, etc. The important thing is to be comfortable and show personal flair. Wear something that makes you feel good, whether it be jeans or your nicest tie, and grab a sweater before you leave home – the air conditioning can be a bit chilly! Additionally, skip that spritz of perfume or cologne before you go out; the Four Seasons Centre for the Performing Arts is scent-free.

Many fellow patrons are allergic to strong scents.

Once you’re dressed, it’s important to arrive on time for the show. Late patrons cannot be admitted to the theatre, and you may have to watch the first act from a screen in the lobby rather than your seat. If you need to buy or pick up a

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ticket, arrive as early as possible, as sometimes the line-up for the box office can be quite long before a performance!

The main doors open one hour before the performance starts. Line up there and have your ticket ready to present to the usher. If you have any questions about the performance, drop by the Welcome Desk to ask a member of the COC staff, who are full of useful information not only about the opera, but about COC programs in general.

A pre-performance chat takes place in the Richard Bradshaw Amphitheatre (Ring 3 of the lobby) about 45 minutes before the show. These chats, given by members of our COC Volunteer Speakers Bureau, offer valuable insight into both the opera and the specific production that you’ll be seeing.

Before the opera starts, take the opportunity to explore the lobby, known as the Isadore and Rosalie Sharp City Room. The Four Seasons Centre is Canada’s first purposebuilt opera house, engineered with state-of-the-art design and technology for the best possible acoustics. Notice that the sound of traffic, streetcars and the general bustle of the city barely reaches the lobby, even though an airy glass wall looks out onto one of the busiest intersections in Toronto.

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Stop by one of the bars and order a beverage for intermission or grab a snack. Browse the Opera Shop to pick up a memento of your experience at the opera. (Note: the Opera Shop is not open at dress rehearsals.) Walk up the stairs, passing a sculpture by Canadian artist Sorel Etrog as you go, and note the floating glass staircase – the longest free-standing glass staircase in the world! On the third floor, you’ll see the Richard Bradshaw Amphitheatre, home to our Free Concert Series. You’ll also see a mobile by artist Alexander Calder, adding some colour and whimsy to the space.

Chimes ring throughout the lobby starting ten minutes before the performance, reminding everyone to get to their seats. Head towards the door noted on your ticket, grab a program from the usher, and find your designated seat. It’s best to use this time to open any candies or cough drops you might have and turn off your cell phone – the hall is built to carry sound, so small sounds travel further than you may think! If you’d like to get a picture of you and your friends at the opera, do so now – photography is not permitted once the performance begins. A camera flash is very distracting to the performers, who are working hard to stay focused and in character.

As the lights go down and the audience quiets, listen carefully. Whatever little bit of outdoor sound you might have heard in the lobby (a siren passing, a rumbling streetcar) has been virtually eliminated here. Not a peep!

That’s because the auditorium is physically separated from

the outside and the ground below, making for the best acoustic experience possible.

Now it’s time to sit back and enjoy the opera! But wait – you forgot your Italian-to-English translator! Don’t worry about it. SURTITLES™ are projected on a horizontal screen above the stage. SURTITLES™ originate from the idea of “subtitles,” which are most commonly used in foreign films to make them more accessible outside of their country of origin. The COC was the first opera company to adapt this concept for the operatic stage. Slides containing the English translation of the libretto (text for the opera) are projected in a more visible place for the audience: above the stage. SURTITLES™ were first used by the COC at the premiere of the opera Elektra in 1983. Only the name could be trademarked, as the technology for the projections was already in existence. Opera companies from around the world have adopted this audience initiative under different names, and it has revolutionized opera stages around the world.

Make sure to show your appreciation to the performers by laughing at humorous bits or applauding after a well-performed aria. If a performer has pulled off some particularly impressive vocal fireworks, it’s absolutely acceptable to yell out your appreciation in addition to applause. You may hear your fellow audience members shouting “bravo!” for a man, “brava!” for a woman, or “bravi!” for a group of performers. Feel free to join in!

Verdi’s fiery melodrama, Il Trovatore, lasts approximately two hours and 30 minutes, including one 25-minute intermission. The opera will be sung in Italian with English SURTITLES™.

The production is from Opéra de Marseille.

R. Fraser Elliott Hall.

Photo: Tim Griffith

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Il Trovatore Study Guide

Characters and Synopsis MAIN CHARACTERS (in order of vocal appearance) Name Description Ferrando Captain of Conte di Luna’s guard Inez Confidante of Leonora Leonora Lady-in-waiting to the Princess of Aragon Conte di Luna A young nobleman Manrico Supposed son to Azucena and rebel under Prince Urgel Azucena A gypsy woman from Biscay Ruiz A soldier in Manrico’s service Messenger Old Gypsy

Voice Type Bass Soprano Soprano Baritone Tenor Mezzo-soprano Tenor Tenor Bass

Pronunciation fer-RAHN-doh ee-NEZ leh-oh-NOR-ah COHN-teh dee-LOO-nah mahn-REE-koh ah-zoo-CHEY-nah roo-EEZ

(l – r) Mzia Nioradze as Azucena and Robert Hyman as the Conte di Luna in Opéra de Marseille’s production of Il Trovatore, 2003. Photo: Christian Dresse

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SYNOPSIS ACT I Scene i Conte di Luna’s soldiers listen to Ferrando, their captain, who tells them that the Conte’s father once burned an old Gypsy woman at the stake for witchcraft. In revenge, the Gypsy’s daughter, Azucena, stole di Luna’s infant brother, García, and threw him into the fire, killing the child.

ACT III Scene i A Gypsy woman has been captured roaming outside di Luna’s army camp. Ferrando recognizes her as Azucena.

Di Luna is delighted to learn that his prisoner is Manrico’s mother and he orders her to be burned alive.

Scene ii Leonora confides in her companion, Inez, confessing to her that she has fallen in love with an unknown troubadourknight who has serenaded her. Inez has doubts about the stranger, but Leonora cannot forget him. After the two women enter the palace, Conte di Luna appears, intent on courting Leonora. He is interrupted by the mysterious troubadour’s song. The troubadour reveals himself as Manrico, the leader of the rebel forces, and he challenges Conte di Luna to a duel.

ACT II Scene i As day breaks, the Gypsies are hammering on their anvils and working at their handicrafts. In a trance, Azucena relives the events of her mother’s death at the execution pyre. She tells of how in the ensuing confusion, she threw her own son into the fire instead of Conte di Luna’s brother.

Manrico, who has always believed Azucena to be his mother, is puzzled by what he has heard. After regaining her senses, Azucena convinces him that he is indeed her son. A messenger brings news that Leonora, thinking Manrico is dead, plans to join a convent. Despite Azucena’s protests, Manrico rushes off to find Leonora.

Scene ii At the convent, Conte di Luna waits with his men to kidnap Leonora. Manrico arrives with his own soldiers just in time to prevent the abduction and escapes with Leonora.

Scene ii Inside the fortress of Castellor, Leonora and Manrico are about to be married. Ruiz, Manrico’s friend, arrives with the news that Azucena has been captured and is about to be burned at the stake. Manrico hurries off to save her.

ACT IV Scene i Having lost the battle with di Luna, Manrico languishes in prison together with Azucena. Meanwhile Leonora is determined to save the troubadour’s life at any cost and promises herself to di Luna in exchange for Manrico’s freedom. The Conte agrees to the bargain and, as he arranges for Manrico’s release, Leonora swallows a deadly poison.

Scene ii Manrico tries to comfort Azucena, reminiscing over their peaceful days in the mountains. Leonora enters, telling Manrico that he is free, but he suspects the price of his freedom and curses her. He realizes his mistake when she collapses. Just as Leonora tells Manrico with her dying breath that she has chosen to die rather than live without him, di Luna enters. Enraged, the Conte orders Manrico to be executed. Azucena awakens to Manrico’s cries and di Luna forces her to witness the killing. The Gypsy reveals to the Conte that Manrico is actually his brother. Crying out “Mother, you are avenged!” she falls lifeless to the ground.

INTERMISSION

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Il Trovatore Study Guide

Genesis of the Opera GIUSEPPE VERDI (1813 – 1901) Giuseppe Verdi is considered one of the greatest opera composers to have ever lived. He dominated Italian opera in the latter half of the 19th century, and his work continues to be considered some of the most important in the operatic repertoire. Born in rural northern Italy in 1813, Verdi began his musical studies with local church organists. Though he was rejected by the Milan Conservatory, his talent was apparent to Vincenzo Lavigna, a long-standing concert master at La Scala, the opera house in Milan, who took the young Verdi under his wing and taught him the basics of composition. In his early 20s, Verdi continued his private studies in Milan, where he also took in numerous concert and opera performances.

ROMANTICISM AND IL TROVATORE The European Romantic movement was at its height in the mid-19th century and Verdi’s music championed its themes. The emphasis in art was now on the expressive content of music, and the composer gave free reign to his ideas, feelings and fantasies. Verdi’s Il Trovatore reveals a rich emotionalism, interest in folk traditions, and tales of horror, violence and unlikely heroes that resonated with the Romantic ideals of his time. In particular, Verdi’s use of “exotic” Spanish themes was favorable to his style of composition – pulsing rhythms, over-the-top arias, and melodramatic plotlines.

“Il Trovatore is, in fact, unique, even among the works of its own composer and its own country.

It has tragic power, poignant melancholy, impetuous vigour, and a sweet and intense pathos that never loses its dignity.”

George Bernard Shaw

IL TROVATORE (THE TROUBADOUR) Verdi is known for his grand operas (characterized by their large scale and spectacular casts, orchestra, sets and costumes), and Il Trovatore ranks among his most beloved and popular works.

Portrait of Giuseppe Verdi

by Giovanni Boldoni (1886)

After the completion and successful premiere of Rigoletto in March of 1851, Verdi began to search for subject matter for his next opera. An avid fan of theatre, poetry and literature, Verdi found his inspiration in the work of Spanish dramatist Antonio García Gutiérrez, namely his play El trovador (The Troubadour).

Verdi eventually settled on a small farm near his birthplace, where he would remain for most of his life. At his funeral procession in Milan, thousands of people – some estimates claim as many as 300,000! – gathered to mourn his passing. The massive crowds spontaneously broke into a popular chorus called “Va, pensiero” from Verdi’s early opera Nabucco (1842), because Verdi and his music had become so strongly linked with Italy’s national identity. The gathering remains one of the largest public assemblies in the history of Italy.

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“I suggested it [the play] to you because it seems to me to offer excellent dramatic features and, in addition, something singular and original.”

Verdi, in a letter to his librettist (the writer of the opera’s text), Cammarano

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Verdi began composing Il Trovatore in the autumn of 1851. To translate and adapt Gutiérrez’s work into Italian, Verdi turned to his close colleague and regular librettist, Salvatore Cammarano, whose best-known collaboration with Verdi had been for the opera Luisa Miller (1849).

Cammarano died before he could complete the libretto, so Italian poet Leone Emanuele Bardare was brought in to finish the work.

GYPSIES Romantic artists, like the playwright Guitiérrez and Verdi, loved to present people and situations from beyond their own culture and experience, and gypsies were considered a distant, thrilling and exotic group of people. The term “gypsy” derives from the Greek word for “Egyptian,” and was used as a “catch-all” term for groups emigrating from Northern India in the 14th and 15th centuries and settling in various parts of Europe, particularly what is now modern Romania. In time, the use of the term was extended to other ethnic groups who were thought to fit the stereotype of the nomadic, dark-skinned, wild-eyed traveler, skilled in witchcraft, charms and baby-snatching! Artists in the 19th century capitalized on the fascination with the exotic country of Spain, whose “gypsy” tribes were thought to practice these customs.

Verdi found the element of gypsies in Guitiérrez’s play El trovador to be the most fascinating part, and could not wait to treat the story with, as he wrote, “the boldness and novelty of the Spanish drama.”

Anonymous, 14th century

THE ROLE OF AZUCENA Verdi was particularly intrigued by the character of the gypsy Azucena and even wanted to name the opera after her.

He was fascinated by her paradoxical place within the opera: she’s detached from the main action unfolding on stage, but she is also the central figure whose deeds animate the action of the story. Verdi was particularly fascinated by the two driving forces that seemed to fuel Azucena’s actions: her maternal love for Manrico, and the love for her own mother (which fuels her need to avenge her mother’s death). Indeed, Verdi was so drawn to Azucena, he later admitted he wished he could have sung her part: “If I were a prima donna (a fine thing that would be!) I would always rather sing the part of the Gypsy in Il Trovatore.” Although his fascination for Azucena’s character remained an integral part of his composition process, he gradually expanded the role of Leonora until the two were almost equal.

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“Spanish King and the Gypsies” by Adolphe Dillens (1852)

WHY IS IT POPULAR? If you’ve already read the plot synopsis included in this study guide, you’ll be aware that the storyline for Il Trovatore is not exactly straightforward. Yet despite the convoluted revenge plot, the opera continues to be one of the most popular works in the entire repertoire. It is rich in melodies and contains some of the best-known music in all of opera. Additionally, some critics have attributed the longevity of Il Trovatore to its focus on an unconventional central character (Azucena) and the use of a traditional, audience-friendly structure (characters sing arias and

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Il Trovatore Study Guide

duets) that would have been familiar to the European theatre-going public. For more on Il Trovatore’s musical structure, check out the Listening Guide (page 12).

on the alert for a story that would fit his type of musical expression – for situations illustrating intense emotions, violent clashes, and utter tragedy.

Others observe that the success of the opera might in fact be connected to the plot’s heightened intensity and melodramatic excess – the emotionally charged language and storyline are perfectly complemented by Verdi’s raw musical energy and emotional expression.

The warring royal family, set against itself, is mirrored in the operatic story of the long-lost brothers Conte di Luna and Manrico, who choose opposing sides in the civil war (di Luna sides with Fernando, the “rightful” King of Aragon, and Manrico with Urgel, the rebel leader). The conflict of emotions is intense, lending lots of opportunity for highly dramatic music. And Verdi, as a Romantic composer, was able to glorify a figure as strong and passionate as Manrico, who is both warrior and troubadour; an exotic fighting on the losing side of a revolution, and a son from a royal house (the di Lunas).

Legendary tenor Enrico Caruso once said that all it takes for a successful performance of Il Trovatore is the four greatest singers in the world.

The music itself is incredibly demanding for the four main principals (Conte di Luna, Leonora, Azucena and Manrico).

At dramatic points in the story, the vocal and orchestral lines can turn from rhythmically driven, loud and frantic themes, to suddenly lyrical and soft passages. What is more, at these moments, Verdi often strays from the expected tonal structure (in other words, he will suddenly change keys when the actions in the story become heated!). Singers in the main roles must therefore be not only astute readers of emotional atmosphere, they must also have vocal technique and musicality of the highest calibre in order to keep pace with the ever-changing moods and expressions of the characters.

PREMIERE AND RECEPTION Il Trovatore premiered on January 19, 1853 at the Teatro Apollo in Rome. It was one of the most successful premieres Verdi ever experienced. Shortly after its Italian triumph, it had its US premiere at the Academy of Music in New York on May 2, 1855, and its UK premiere at Covent Garden (London) on May 10, 1855.

Photo: “Campfire” by Marcus Obal, 2005

CIVIL WAR/WARRING FAMILIES Though the narrative of Il Trovatore is fictitious, the historical background of the plot is based in fact. Verdi’s opera is set in the midst of the 15th-century Spanish civil war, a violent and turbulent period. In the region of Aragon, King Martin died on May 31, 1410, leaving no heir apparent. Seven men all laid claim to the vacant throne, each calling the other an imposter. Eventually Fernando de Antequera, the late king’s nephew, was crowned by the parliament of Aragon in 1412. But Martin’s brother-inlaw, Count Urgel, rejected Fernando as ruler and raised a rebellion to advance his own cause. Verdi loved this kind of melodramatic history, with its medieval setting, exotic locale and warring family members. He was always

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Listening Guide Verdi’s Il Trovatore (1853) is part of what is popularly known by Italians as the trilogia popolare (the popular trilogy) of which the other two operas are Rigoletto (1851) and La Traviata (1853), all of which were composed within a very short time. Il Trovatore is the odd one out in this triangle in that it contains a traditional series of standalone, virtuoso set pieces (arias, cabalettas, duets, trios, finales). This is a more conservative musical structure when compared with Rigoletto for example, in which it is often difficult to tell where one number ends and another begins.

unheeded. Even though the composer had to work within a somewhat constrained format he was ultimately still able to produce some of his most exciting and characterful music.

The conservatism of the musical forms in Il Trovatore was not solely a stylistic choice but was also largely a function of the old-fashioned libretto supplied by Salvatore Cammarano. During the working stages, Verdi made it known that he wanted to write in the freer, continuous form he had used in Rigoletto but his suggestions went

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In the past, the differences between Il Trovatore and the other two operas in the triologia were seen as a way to malign it, but opinion has changed and what were once considered weaknesses (that is, the series of “conventional numbers”) are now often seen as strengths. In fact, these traditional set pieces serve to concentrate and define the various stages of the drama.

Recording: Giuseppe Verdi, Il Trovatore. Chorus and Orchestra of the Accademia Nazionale di Santa Cecilia under Carlo Maria Giulini, conductor. With Plácido Domingo, Rosalind Plowright, Brigitte Fassbaender, Giorgio Zancanaro, Evgeny Nesterenko. Deutsche Grammophon, 477 5915.

MUSICAL EXCERPT Act I, trio: “Anima mia!” – “Che far?” – “Più dell’usato” – “Di geloso amor sprezzato” (“My soul!” – “What shall I do?” – “You are late tonight” – “The fire of jealous and unrequited love”) Connection to the Story This trio for Manrico, Leonora and Conte di Luna forms the finale of the opera’s first part, entitled “The Duel.” Leonora hears Manrico serenading her offstage and, in the darkness, mistakes Conte di Luna for her lover. She dispels Manrico’s jealousy by explaining her error, but nevertheless, the romantic and political rivals are soon caught up in a duel as the act ends.

Musical Significance The trio in this excerpt is an excellent example of how Verdi could take a traditional musical element and just by virtue of its intense musical energy, tell us all we need to know about the situation at hand.

As the section begins we hear Leonora cry, “Anima mia!” (“My soul!”) as she greets the man she thinks to be Manrico. Her utterance is like a falling cry or sigh indicating her passion for the troubadour and her impatience to see him. Soon after this (00:30), we hear an agitated motif in the strings, also echoed in Leonora’s vocal line, which expresses the confusion, jealousy, and anger all three characters are experiencing. Then (2:08), di Luna communicates his anger as he launches into a virtuoso section full of quick scale passages and trill-like turns (quick oscillations between two notes); the tempo (the speed at which music moves) picks up and the act closes with all three principals singing full-tilt at the top of their vocal and emotional ranges.

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MUSICAL EXCERPT Act II, racconto: “Condotta ell’era in ceppi” (“They dragged her in bonds”) Connection to the Story Manrico’s mother, the gypsy Azucena, tells the story of her own mother’s death at the stake as commanded by the Count, father of the present Conte di Luna. Azucena tells how, to avenge her mother’s death, she intended to throw the Count’s son into the flames but mistakenly threw in her own. Manrico is worried that this means he is not really her son, but Azucena is able to dispel his doubts.

Musical Significance Azucena is one of Verdi’s most original and memorable creations. By assigning such a major role to a lower-voiced female (in this case, a mezzo-soprano), Verdi took a truly innovative step. Up until this point in Italian opera, there are few precedents for giving the mezzo-soprano such a central place in an opera.

As with the new demands he also placed on the baritone voice, Verdi required these lower voices to sing higher, sustain longer lines and declaim their passions in a more dramatic fashion than had any other Italian composer before him.

At the opening of this piece, listen to the accompaniment with its strikingly shuddering strings and descending tearful intervals for oboe and violin: Azucena is about to tell us a very bizarre and disturbing tale, which is set up musically by this introduction. Listen at 2:34 as Verdi recalls the melody of Azucena’s first aria, “Stride la vampa” (“the flames are roaring”). We hear the high strings mimicking the sound of the licking flames which consumed the gypsy’s mother and into which her daughter, Azucena, threw her own child. After taking the singer to the top of her range, as she recalls the horror of these past events, Verdi ends the aria at the opposite end of the scale, exploiting the dark, haunting qualities of the mezzosoprano’s voice as Azucena fearfully sings: “Sul capo mio le chiome sento drizzarsi ancor!” (“I still feel my hair standing on end!”)

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MUSICAL EXCERPT Act III, chorus: “Or co’dadi, ma fra poco” (“Now we play at dice, but soon…”)

Connection to the Story Conte di Luna’s soldiers prepare to attack the castle to which Manrico and Leonora have escaped.

Musical Significance The chorus, one of those traditional elements of Italian romantic opera to which Verdi adheres in Il Trovatore, is exploited to its full potential and given some of the most popular, recognizable music in all opera.

The Anvil Chorus which opens part two is perhaps more famous with its clanging anvil sound effects, but this chorus that begins the third part is no less rousing.

Strong rhythms and the male chorus’s punchy declamation of the text make very clear the soldiers’ zest at the prospect of doing battle with Manrico and his gypsy forces. Large chorus pieces such as this one and the Anvil Chorus help establish the overall atmosphere of violence, vengeance and savagery in Il Trovatore.

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An anvil is a tool used by metal workers to shape metal. It is a large block made out of steel (modern anvils) that has a large surface on which pieces of metal can be struck. Anvils have been used as a percussion instrument in other operas and, most recently, in Howard Shore’s score for The Lord of the Rings film trilogy. It has a bright sound that can cut through any orchestra!

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MUSICAL EXCERPT Act III, aria: “Di quella pira” (“The horrid flames of that pyre”) Connection to the Story After receiving the news that his mother has been captured by di Luna, Manrico calls his followers to arms and is determined to rescue Azucena.

Musical Significance “Di quella pira” is an aria di bravura (a piece intended to show off the virtuosic skill of the singer) which possesses an almost physical impact. Its pulsating, emphatic melody ignites the heat in Manrico’s rallying cry resulting in one of the greatest tenor moments in all opera. It is notorious for its interpolated high Cs (notes not written in the score, but nevertheless traditionally included in performance) which stretch the tenor to his limits, especially if he elects to hold the final high note endlessly! There are arguments for and against the inclusion of these notes, but most commentators agree that Verdi must have heard the piece sung this way many times, and in no way do the interpolations contradict the spirit of the music.

(l – r) Vladimir Galouzine as Manrico and Mzia Nioradze as Azucena in Opéra de Marseille’s production of Il Trovatore, 2003. Photo: Christian Dresse

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MUSICAL EXCERPT Act IV, aria: “Di te! Di te! Scordarmi di te!... Tu vedrai che amore in terra” (“Forget you, ever forget you!...

You shall see that love on earth”) Connection to the Story Manrico’s attempt to save Azucena has failed and he has been captured by di Luna. Outside the tower where her lover is being held, Leonora sings of her determination to save Manrico even if it means sacrificing her own life.

Musical Significance Some of the most remarkable music in Il Trovatore is found in this long scena for Leonora at the beginning of the fourth part. Verdi truly tests the vocal abilities of the soprano here with a triple aria challenge: first, the long-lined, high-lying “D’amor sull’ali rosee,” (“On the rosy wings of love”) then the dramatic “Miserere” (“Lord, thy mercy”) sung over the requiem-like laments of an offstage chorus and finally, the impassioned stretta (an aria where the tempo is quickened for the final climax), “Tu vedrai che amore in terra” (“You shall see that love on earth”).

During the first half of the 20th century it was traditional to omit this final aria, probably because it places such great demands on the singer given that her three arias are immediately followed by a long, dramatic duet with di Luna. During the 1950s, the great soprano Maria Callas resurrected “Tu vedrai” (“You shall see”) and ever since, it has become common practice to include at least one of the aria’s two verses.

Musically, it is very exciting, with its pulsing rhythm (0:18), coloratura* (1:39) and high notes. All of these elements combine to indicate Leonora’s determination, strength and depth of feeling.

*Coloratura: Derived from the Italian colorare, meaning “to colour” or “to enliven.” Coloratura is an ornamental type of vocal music where several notes are sung for each syllable of the text.

This opera has so many hits we couldn’t just pick five. Keep your ear out for these other phenomenal moments: ACT I, Scene i Ferrando, captain of Conte di Luna’s guard, sings “Di due figli vivea” (“Of two sons lived”), in which he recounts the tale of the old Gypsy woman being burned at the stake for witchcraft.

ACT II, Scene i The famous “Coro di zingari” (known as the Anvil Chorus), sung by a camp of gypsies getting ready for their day of work. This is one of the most famous choruses in 19th-century opera.

ACT I, Scene ii Leonora is introduced to us when she sings “Tacea la notte” (“Serene night”), confiding in Inez that she is in love with a man who serenades her in the garden.

ACT II, Scene ii One of the most beautiful and beloved arias of the baritone repertory, “Il balen del suo sorriso” (“The flashing of her smile”) is Conte di Luna’s paean to Leonora.

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What to Look for The Canadian Opera Company presents Giuseppe Verdi’s Il Trovatore from September 29 to October 31 as part of the COC’s 2012/2013 season. This production is from the Marseille Opera, where it premiered in 2003.

This production, directed by Charles Roubaud, is set during the time of il Risorgimento (“the Resurgence,” which signifies the political and cultural movement in the 19th century towards Italian unification). This time period also roughly corresponds to Verdi’s life – in fact, he was composing Il Trovatore in the early 1850s and his music has since been associated with the il Risorgimento movement.

Sets and costumes range in colour from rich golds, navy blues, deep reds and silky creams to icy blues, silvers and charcoals, perhaps to reflect the quick-paced melodramatic action of the story, where in any given scene the mood can change from joyous to despairing in a split second.

The textures of the costumes are similarly contrasting. For example, as Leonora’s fate becomes increasingly bleak, her costume changes from elegant satin to mournful black tulle.

Costume designer Katia Duflot has worked on numerous occasions with director Charles Roubaud. Their past productions together have included La Traviata at the Mariinsky Theatre, and Aida in Tel Aviv. This season, she works again with Roubaud in the Marseille Opera’s upcoming productions of Elektra and Cléopâtre.

When it premiered at the Marseille Opera in 2003, critic Georges Gad from Le Monde de la Musique commented that “With sublime staging by Charles Roubaud… and dark and beautiful costumes, the production allows Verdi’s marvelous score to shine through with its colours of night and fire.”

A scene from Opéra de Marseille’s production of Il Trovatore, 2003. Photo: Christian Dresse

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(l – r) Vladimir Galouzine as Manrico and Mzia Nioradze as Azucena in Opéra de Conte Marseille’s Robert Hyman (above and below centre) as the di Luna in Opéra de Marseille’s production of Il Trovatore, 2003. Photos: Christian Dresse production of Il Trovatore, 2003. Photo: Christian Dresse

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COC Spotlight: Sandra Horst There is a team of brilliant artists and administrators who work hard behind the scenes to ensure that your opera experience is as thrilling as possible. Meet Sandra Horst, the COC’s Chorus Master. She directs the company’s inhouse chorus, which has earned international acclaim for

its supporting vocal work in countless productions. She works tirelessly to harness the collective power of the voice and bring out the magnificent musical textures of a group singing in harmony.

Name: Sandra Horst Role in the Company: Chorus Master Hometown: Osler, Saskatchewan Education: B.Mus. (Piano Performance) from Wilfrid Laurier University; M.Mus. (Accompaniment) from New England Conservatory, Boston; Professional Studies – The Juilliard School, New York.

First became interested in opera: Playing for singers in undergrad and singing in the opera chorus at Laurier.

Sandra Horst (Chorus Master)

What made you decide to pursue this career path? Becoming Chorus Master at Edmonton Opera.

If someone was interested in becoming a chorus master what would you recommend they have in terms of skills or experience? It is helpful to have experience with choral singing and an ability to work with a group of people.

Conducting skills are also helpful.

What do you love most about this career? I love the ever-changing demands that are placed on a chorus in opera. The chorus can be big or small, young or old, singing Verdi, Mozart or anything in between… the possibilities are endless and require constant versatility and adaptability.

What do you enjoy the least about this career? Directors who treat the chorus as a blob of people instead of a group of individuals.

What surprises you most about this career? The dedication of every single person doing every single job to ensure that a production truly represents the vision of the creative team.

What are you most anticipating about this production? The glorious music… every single note of it!

What do you enjoy outside of opera? Spending time with my family, reading and crossword puzzles.

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Active Learning One of the best parts of taking your students to the opera is the discussion that live theatre can inspire. Take a deeper look into the themes and story of Il Trovatore with these discussion questions and ideas for further exploration.

DISCUSSION w Did you recognize the Anvil Chorus while you were watching the opera? Where else have you heard this piece before (commercials, TV shows, etc.)? Look for other examples of opera in popular culture and explore the operas that these pieces are from. What do you think makes these particular pieces so timeless? w Consider the role of fate in Il Trovatore. Could anything have altered the outcome for any of the characters?

FURTHER EXPLORATION w Il Trovatore is a strong example of an opera written in the Romantic period. Look carefully at both the plot and music of Il Trovatore and identify the hallmarks of Romanticism. (For quick reference, Romantic art usually includes: folk art/music/traditions, often referencing medieval times; heroes and heroines who value custom and honour above all else; characters returning to nature; and stories full of passion.) w Explore the history of gypsies with your class and discuss what Azucena’s life might have been like outside of the opera. w Take a deeper look into the history of troubadours – what did they sing about? Where did they perform?

Do “troubadours” still exist in some form today? If they did, what would they sing about? Would they take to other mediums like YouTube or Twitter? Why or why not? Create your own example of how a modern troubadour might express themselves.

Did viewing the opera spark some scintillating debates or discussions? Would your students like to share examples of their work with the COC? E-mail us at education@coc.ca.

We’d love to hear from you!

Bibliography Budden, Julian. “Il trovatore and the “trilogy”: in praise of difference.” Liner Notes. Il trovatore. CD. EMI Classics, 2002.

Gad, Georges. “Il Trovatore Review.” Le Monde de la musique. Paris, 2003. Magazine.

Lindenberger, Herbert. “Anatomy of a Warhorse: Il trovatore fom A to Z.” Situating Opera: Period, Genre, Reception. New York: Cambridge University Press, 2012.

8-43. Print.

Pierson, Peter. The History of Spain. Westport: Greenwood Press, 1999. Print.

Sacks, Zenia. “Verdi and Spanish Romantic Drama.”

Hispania 27.4 (Dec. 1944): 451-465. Print.

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The COC offers a wide variety of school programs for Kindergarten to Grade 12.

To find out more, visit our website at coc.ca/Explore or contact: Education & Outreach Canadian Opera Company 227 Front St. E., Toronto, ON M5A 1E8 Tel: 416-306-2392 Fax: 416-363-5584 education@coc.ca

The COC gratefully acknowledges:

Il Trovatore Study Guide contributors and editors: Carly Anderson, Children & Youth Programs, Manager; Nikita Gourski, Development Communications Officer; Gianmarco Segato, Adult Programs Manager; Katherine Semcesen, Associate Director, Education and Outreach; Vanessa Smith, School Programs Manager; Suzanne Vanstone, Senior Communications Manager, Editorial; Gianna Wichelow, Senior Communications Manager, Creative | Produced by the Canadian Opera Company Š 2012 Charitable Registration Number: 11883 4829 RR0001

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Above: Summer Opera Camp

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