_Azucena_ is seated near the fire. _Manrico_, enveloped in his mantle, is lying upon a mattress; his helmet is at his feet; in his hand he holds a sword, which he regards fixedly. A band of gypsies are sitting in scattered groups around them.

Since an almost unbroken sequence of melodies is a characteristic of "Il Trovatore," it is not surprising to find at the opening of this act two famous numbers in quick succession;--the famous "Anvil Chorus,"

[Music]

in which the gypsies, working at the forges, swing their hammers and bring them down on clanking metal in rhythm with the music; the chorus being followed immediately by _Azucena's_ equally famous "Stride la vampa" (Upward the flames roll).

[Music: Stride la vampa!]

In this air, which the old gypsy woman sings as a weird, but impa.s.sioned upwelling of memories and hatreds, while the tribe gathers about her, she relates the story of her mother's death. "Avenge thou me!" she murmurs to _Manrico_, when she has concluded.

The corps de ballet which, in the absence of a regular ballet in "Il Trovatore," utilizes this scene and the music of the "Anvil Chorus"

for its picturesque saltations, dances off. The gypsies now depart, singing their chorus. With a pretty effect it dies away in the distance.

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Swept along by the emotional stress under which she labours, _Azucena_ concludes her narrative of the tragic events at the pyre, voice and orchestral accompaniment uniting in a vivid musical setting of her memories. Naturally, her words arouse doubts in _Manrico's_ mind as to whether he really is her son. She hastens to dispel these; they were but wandering thoughts she uttered. Moreover, after the recent battle of Petilla, between the forces of Biscay and Aragon, when he was reported slain, did she not search for and find him, and has she not been tenderly nursing him back to strength?

The forces of Aragon were led by _Count di Luna_, who but a short time before had been overcome by _Manrico_ in a duel in the palace garden;--why, on that occasion, asks the gypsy, did he spare the _Count's_ life?

_Manrico's_ reply is couched in a bold, martial air, "Mal reggendo all'aspro a.s.salto" (Ill sustaining the furious encounter).

But at the end it dies away to _pp_, when he tells how, when the _Count's_ life was his for a thrust, a voice, as if from heaven, bade him spare it--a suggestion, of course, that although neither _Manrico_ nor the _Count_ know that they are brothers, _Manrico_ unconsciously was swayed by the relationship, a touch of psychology rare in Italian opera librettos, most unexpected in this, and, of course, completely lost upon those who have not familiarized themselves with the plot of "Il Trovatore." Incidentally, however, it accounts for a musical effect--the _pp_, the sudden softening of the expression, at the end of the martial description of the duel.

Enter now _Ruiz_, a messenger from the Prince of Biscay, who orders _Manrico_ to take command of the forces defending the stronghold of Castellor, and at the same time informs him that _Leonora_, believing reports of his death at Petilla, is about to take the veil in a convent near the castle.

The scene changes to the cloister of this convent. It is night. The _Count_ and his followers, led by _Ferrando_, and heavily cloaked, advance cautiously. It is the _Count's_ plan to carry off _Leonora_ before she becomes a nun. He sings of his love for her in the air, "Il Balen" (The Smile)--"Il balen del suo sorriso" (Of her smile, the radiant gleaming)--which is justly regarded as one of the most chaste and beautiful baritone solos in Italian opera.

[Music: Il balen del suo sorriso]

It is followed by an air _alla marcia_, also for the _Count_, "Per me ora fatale" (Oh, fatal hour impending).

[Music: Per me ora fatale,]

A chorus of nuns is heard from within the convent. _Leonora_, with _Inez_, and her ladies, come upon the scene. They are about to proceed from the cloister into the convent when the _Count_ interposes. But before he can seize _Leonora_, another figure stands between them. It is _Manrico_. With him are _Ruiz_ and his followers. The _Count_ is foiled.

"E deggio!--e posso crederlo?" (And can I still my eyes believe!) exclaims _Leonora_, as she beholds before her _Manrico_, whom she had thought dead. It is here that begins the impa.s.sioned finale, an ensemble consisting of a trio for _Leonora_, _Manrico_, and the _Count di Luna_, with chorus.

Act III. The camp of _Count di Luna_, who is laying siege to Castellor, whither _Manrico_ has safely borne _Leonora_. There is a stirring chorus for _Ferrando_ and the soldiers.

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The _Count_ comes from his tent. He casts a lowering gaze at the stronghold from where his rival defies him. There is a commotion.

Soldiers have captured a gypsy woman found prowling about the camp.

They drag her in. She is _Azucena_. Questioned, she sings that she is a poor wanderer, who means no harm. "Giorni poveri vivea" (I was poor, yet uncomplaining).

[Ill.u.s.tration: Copyright photo by Dupont

Schumann-Heink as Azucena in "Il Trovatore"]

But _Ferrando_, though she thought herself masked by the grey hairs and wrinkles of age, recognizes her as the gypsy who, to avenge her mother, gave over the infant brother of the _Count_ to the flames. In the vehemence of her denials, she cries out to _Manrico_, whom she names as her son, to come to her rescue. This still further enrages the _Count_. He orders that she be cast into prison and then burned at the stake. She is dragged away.

The scene changes to a hall adjoining the chapel in the stronghold of Castellor. _Leonora_ is about to become the bride of _Manrico_, who sings the beautiful lyric, "Amor--sublime amore" ('Tis love, sublime emotion).

Its serenity makes all the more effective the tumultuous scene that follows. It a.s.sists in giving to that episode, one of the most famous in Italian opera, its true significance as a dramatic climax.

Just as _Manrico_ takes _Leonora's_ hand to lead her to the altar of the chapel, _Ruiz_ rushes in with word that _Azucena_ has been captured by the besiegers and is about to be burned to death. Already through the windows of Castellor the glow of flames can be seen. Her peril would render delay fatal. Dropping the hand of his bride, _Manrico_, draws his sword, and, as his men gather, sings "Di quella pira l'orrendo foco" (See the pyre blazing, oh, sight of horror), and rushes forth at the head of his soldiers to attempt to save _Azucena_.

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The line, "O teco almeno, corro a morir" (Or, all else failing, to die with thee), contains the famous high C.

[Music: O teco almeno corro a morir]

This is a _tour de force_, which has been condemned as vulgar and ostentatious, but which undoubtedly adds to the effectiveness of the number. There is, it should be remarked, no high C in the score of "Di quella pira." In no way is Verdi responsible for it. It was introduced by a tenor, who saw a chance to make an effect with it, and succeeded so well that it became a fixture. A tenor now content to sing "O teco almeno" as Verdi wrote it

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would never be asked to sing it.

Dr. Frank E. Miller, author of _The Voice_ and _Vocal Art Science_, the latter the most complete exposition of the psycho-physical functions involved in voice-production, informs me that a series of photographs have been made (by an apparatus too complicated to describe) of the vibrations of Caruso's voice as he takes and holds the high C in "Di quella pira." The record measures fifty-eight feet.

While it might not be correct to say that Caruso's high C is fifty-eight feet long, the record is evidence of its being superbly taken and held.

Not infrequently the high C in "Di quella pira" is faked for tenors who cannot reach it, yet have to sing the role of _Manrico_, or who, having been able to reach it in their younger days and at the height of their prime, still wish to maintain their fame as robust tenors.

For such the number is transposed. The tenor, instead of singing high C, sings B-flat, a tone and a half lower, and much easier to take. By flourishing his sword and looking very fierce he usually manages to get away with it. Transpositions of operatic airs, requiring unusually high voices, are not infrequently made for singers, both male and female, no longer in their prime, but still good for two or three more "farewell" tours. All they have to do is to step up to the footlights with an air of perfect confidence, which indicates that the great moment in the performance has arrived, deliver, with a certain a.s.sumption of effort--the semblance of a real _tour de force_--the note which has conveniently been transposed, and receive the enthusiastic plaudits of their devoted admirers. But the a.s.sumption of effort must not be omitted. The tenor who sings the high C in "Di quella pira" without getting red in the face will hardly be credited with having sung it at all.

Act IV. _Manrico's_ sortie to rescue his supposed mother failed. His men were repulsed, and he himself was captured and thrown into the dungeon tower of Aliaferia, where _Azucena_ was already enchained. The scene shows a wing of the palace of Aliaferia. In the angle is a tower with window secured by iron bars. It is night, dark and clouded.

_Leonora_ enters with _Ruiz_, who points out to her the place of _Manrico's_ confinement, and retires. That she has conceived a desperate plan to save her lover appears from the fact that she wears a poison ring, a ring with a swift poison concealed under the jewel, so that she can take her own life, if driven thereto.

Unknown to _Manrico_, she is near him. Her thoughts wander to him;--"D'amor sull'ali rosee" (On rosy wings of love depart).

[Music: D'amor sull'ali rosee]

It is followed by the "Miserere," which was for many years and perhaps still is the world over the most popular of all melodies from opera, although at the present time it appears to have been superseded by the "Intermezzo" from "Cavalleria Rusticana."

The "Miserere" is chanted by a chorus within.

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Against this as a sombre background are projected the heart-broken e.j.a.c.u.l.a.t.i.o.ns of _Leonora_.

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Then _Manrico's_ voice in the tower intones "Ah! che la morte ognora"

(Ah! how death still delayeth).

[Music]