Tulsa daily world. [volume] (Tulsa, Indian Territory [Okla.]) 1905-1919, 1916-10-01

sented. She pleads with the count
to save Manrico's life, and as a last
resort she offers to give herself to
him II he will spare Manrico. The
count consents and signs the roprieve
but Leonora drinks poison rather than
TO fulfil her promise. The scene
changes to within the prison and we
find Azucena. worn and exhausted,
lying upon pallet, while Manrico
Keeps watch over her. Leonora. wide
eyed and ghastly white. bursts
through the cell door and begs Man
rico to escape He suspects that she
has given herself to the count To save
him and refuses his liberty. but soon
sees tho whole of her sacrifice as she
falls dying At his feet.
The count enters tho cell and,
rea liz'ng that his triumph was shore
lived, orders Manrico to be executed
at once. lie is dragged away TO the
execution. and as the fatal blow falls.
the count forces Azuccna to the win
dow to witness the tragedy. She then
reveals her secret to the horror
stricken count, who then realizes that
he has murdered his own brother.
Azucena falls lfeless to the ground.
The Music of III Trovatorc".
The first act opens with ballad
ma2urka in which Fernando relates the
story of the gypsy leading up TO the
scene of LeOnora, which is treated in
Nerdfs tavorite style. There is "a
brief dialogue with her attendant.
lntZ. which develops into an allegro
CDi tale amor'D. A brief snatch
Of fascinating melody behind the
scene. C'Deserto sulla Lena") intro
duccs Manrico and the act closes with
trio C'Di gclosu amor sprozzlto"D.
The second act opens with the anvil
chorus in the camp of the gypsies
AS the number dies away in the dis
tance AZucena breaks into an aria of
intense energy In which she tells OF
the burning OF her mother at the
stake. A duet with Manrico for the
tenor. The scene is interrupted by
the horns announcing the arrival OF
a messenger.
The second scene of this act Is in
troduced by II broad and beautifully
sustained aria for the count CIl
balendel Suo"D and, like Leonora's
number In the garden scene, again
develops from slow movement to
rapid and spirited march tempo
tPer me Ora Fatale'D, the act
closing with "a concerted effect OF
quartet and chorus
The third is introduced with stir
ring soldiers chorus. AZucena Is
mcnt for Manrico ('Giovui poveri"D.
Two duets follow, between Azucena
and the count. and Maurice and
Leonora. the second accompanied by
the organ in the convent chapel. The
act closes with u spirited aria for
Manrico.
The last act opens with florid aria
for Leonora, leading up to the
msererc. q number which never fails
to charm an audience. AS tho count
enters Leonora has another powerful
aria, which is followed by the ia
millar duet between Azucena and
Menr!co. "Sila StancheZza") upon
which Verdi lavlshed his musical skill
with charming effect. The fast closes
with the tragedy.
Something of Composer.
Giuseppe Verdi was born in the
duchy OF Parma, italy, in 1919. His
parents were inn keepers. Verdi as
a child was morose and did not enter
into tho sports Of the village children.
The only thing that could arouse his
enthusiasm was "a grinding organ of
the street. His musical genius be-
gan to assert itself early in his youth
and his parents, poor though they
were. bought Giuseppe d spinet to
practice upon. This greatly excited
the village. for an inn keepers child
TO have "A spinet was the greatest ex-
traVagance. This spinet is owned by
a friend OF Verdi's in Italy. The key
beard is said to look like u jawbone
with long worn out teeth.
palacc orchestra at the Christian