Public ledger. [volume] (Memphis, Tenn.) 1865-1893, 1880-11-18
AMUsMEKTs
hi To.NInHr

IL rRovAroRE TONIGHT.
The majority of our music loving
and ~opera-going people are familiar
with the story upon which III Trova-
tore" is founded, and many know the
score in part, at least, but as there are
are many who do not, and as others
have treacherous memories, a brief
sketch Of it will not be out of place
this afternoon. 1t is as follows, Sus-
pected Of beWitching the infant son Of
the Count de Luna, an old esypsy'wo-
man, AEucena is bound at the stake.
Her daughter steals the child and
casts it into the fire, but finds out too
late hat she has cast her own babe by
mistake. She then adopts the child
as her own. The child, Manrico, Gas
tie, the tenor, is her supposed son. He
and Leonora fall in love at a tourna-
ment, where she presides as queen Of
beauty, and she crowns him as the
victor in arms. The first important
solo Of the opera is the song in praise
of ssthe placid night. A brilliant
terezetto is also a noted feature, and
this is sung between Leonora, ManricO
and the baritone, the Count di Luna,
which closes the first act. The second
act opens with a Gypsey camp scene,
where Manrico, who has been wounded
in an encounter with his rival, Di
Luna, is recovering his health. Here,
while the Gypsies ply their various
crafts of chain-making, we have the
noisy, but always popular melody of
the anvil chorus. Next follows the
wild savage song Of Azucens, where
the horrid scene of her brothers fire.
quent cruel vengeance is related.
Meantime, Leonora surprising her
lover killed %retires to a convent, where
the nuns chant behind the scenes
sad and melancholy church music
and an impressive scene follows. This
. chant has been in use among the
IS Catholics for more than FIVE hundred
years. Count di Luna appears, with
n q view Of s%eizing Leonora, and sings
o a warm passionate serenade. Manrioo.
d also appears and rescues LeOnOra,
seeking refuge in a castle. This &C.
Is cupies the whole Of the second act
1t In the third act a sinister rollickipg
d song is sung in chorus by the soldiers
ss of the cOunt-and this when effective
y ly rendered, causes a spectator to
Of fairly see a treacherous scowling
fellow looking from under a SLOUGH
hat. While wandering abroad Azucena
is observed and apprehended. Being
cast into prison, Manrico hears of it
md sings, rushes out aud is himself
captured. LeoRora, TO a him,
promises to marry the Coutt di Luna,
provided Maurice is released. This
. is done, and She sings a rapturous,
~ magnificent song. The Miserere has
come, and while yes in prison, con
demned to die, hears the dismal chant
ing of the funeral music, which sink;
heavily upon his heart, like a breath
from the tomb, and he sings a touch.
ing song Of love to LeOnora. TIT
latter, meantime, having no idea o
giving herself IN to the count, take
poison and dies. The scene is laid il
Spain, among its proud grandees AM
a. wild, rowing gypsles-a fayorlte Liant
n for operate pictures to be drawn from
and it is a drama made up Of strong
dark passious-reyenge, fear, Jealous
and suicidal love. 1t is the most uni
Versally popular Of the numero
works of Verdi, its Italian composel
who has succeeded best in depictin
the various features with which tn
opera abounds. The loyeliest, tender
est, purest aud most musical melod
IN tie entire opera, according to man,
is the duett between Azucena an
inc ManricO, a soft, sweet and exceeding
3 touching morceaux, which always wiz
the applause of listeners, and is a
" Offset to the many high. soundir
= passages, which test the force an
often the physical endurance of Ii
singers.
THE OPERA.