Il trovatore
The troubadour
Dramma lirico in four parts
Libretto by Salvadore Cammarano and Leone Emanuele Bardare
after El trovador by Antonio García Gutiérrez
in Italian with German and English surtitles
Libretto by Salvadore Cammarano and Leone Emanuele Bardare
after El trovador by Antonio García Gutiérrez
in Italian with German and English surtitles
Recreating reality is all well and good, according to Giuseppe Verdi, "but inventing reality is better, far better". And what sort of reality he invented in his Troubadour opera: Swapped children, avenged mothers, sacrificed lovers and more... An almost mythical tale full of unbelievable twists and turns that repeatedly put all the characters right into a state of emergency. Verdi was far more concerned with the credibility of the emotions and not so much with the credibility of the plot itself: Singing as a kind of utopia, as the opening of a space that does not exist in recreated reality. In his staging of Verdi's opera, director Paul-Georg Dittrich goes in search of exactly these moments.
#StgtTrovatore
World premiere
1853 in Rom
Premiere of this production
June 9, 2024
1853 in Rom
Premiere of this production
June 9, 2024
Recommended age
from grade 9
from grade 9
Duration
Act I + II: approx. 1 h 20 min
Interval: approx. 25 min
Act III + IV: approx. 1 h 10 min
There will be an introduction 45 minutes before the performance at foyer I. floor.
Act I + II: approx. 1 h 20 min
Interval: approx. 25 min
Act III + IV: approx. 1 h 10 min
There will be an introduction 45 minutes before the performance at foyer I. floor.
Sep 2024
Oct 2024
Nov 2024
Synopsis
Part One: The Duel
Ferrando tells the story of the old Count Luna’s two sons. The younger of the two was once kidnapped: To avenge the death of her mother burned at the stake for witchcraft, a woman abducted the child and threw it into the same fire. Leonora tells her companion Ines of her love for an unknown troubadour she met at a tournament before the start of the civil war and for whom she has since longingly been waiting. Since a troubadour has been serenading her at night, she hopes to finally see him again. Count Luna, the older brother of the kidnapped child, is consumed with desire for Leonora and aware of her infatuation with the singer. When the troubadour’s song next rings out he plans to confront the mysterious stranger. This results in a duel during which the troubadour, who reveals himself to be Manrico, an associate of Luna’s enemies, spares the Count’s life.
Part Two: The Gitana
Azucena tends to her son Manrico, badly wounded in the duel, and tells him that, years before, her mother was burned as a witch. With her final words she instructed Azucena to take revenge. Azucena explains how she abducted the old Count’s son in order to kill him, but due to sudden confusion mistakenly pushed her own child into the fire. Manrico asks if this means he is not her real son, but she leaves the question unanswered. Instead, she tells him to show the despised Count Luna no mercy when they next meet. A messenger informs Manrico that Leonora plans to enter a convent as she believes him to have perished in the duel with Luna. Meanwhile, Luna is concocting a scheme to make Leonora his. Suddenly, Manrico, thought to be dead, reappears, enabling he and Leonora to finally be united.
Ferrando tells the story of the old Count Luna’s two sons. The younger of the two was once kidnapped: To avenge the death of her mother burned at the stake for witchcraft, a woman abducted the child and threw it into the same fire. Leonora tells her companion Ines of her love for an unknown troubadour she met at a tournament before the start of the civil war and for whom she has since longingly been waiting. Since a troubadour has been serenading her at night, she hopes to finally see him again. Count Luna, the older brother of the kidnapped child, is consumed with desire for Leonora and aware of her infatuation with the singer. When the troubadour’s song next rings out he plans to confront the mysterious stranger. This results in a duel during which the troubadour, who reveals himself to be Manrico, an associate of Luna’s enemies, spares the Count’s life.
Part Two: The Gitana
Azucena tends to her son Manrico, badly wounded in the duel, and tells him that, years before, her mother was burned as a witch. With her final words she instructed Azucena to take revenge. Azucena explains how she abducted the old Count’s son in order to kill him, but due to sudden confusion mistakenly pushed her own child into the fire. Manrico asks if this means he is not her real son, but she leaves the question unanswered. Instead, she tells him to show the despised Count Luna no mercy when they next meet. A messenger informs Manrico that Leonora plans to enter a convent as she believes him to have perished in the duel with Luna. Meanwhile, Luna is concocting a scheme to make Leonora his. Suddenly, Manrico, thought to be dead, reappears, enabling he and Leonora to finally be united.
Part Three: The Gitana’s Son
Ferrando and Luna’s troops are convinced that victory in the civil war will soon be theirs. However, Luna is more interested in winning back Leonora. Azucena is seized by Luna’s men. Ferrando claims to recognise in her the witch who once kidnapped Count Luna’s brother. Luna discovers that Azucena is Manrico’s mother and decides to take revenge on her. Meanwhile, thinking themselves safe, Leonora and Manrico plan to marry. One of Manrico’s companions tells him of Azucena’s capture. Manrico sets off at once to save her.
Part Four: The Execution
Manrico’s rescue attempt has failed. He now finds himself a captive of Luna together with Azucena. Leonora promises to submit to Luna if he frees Manrico. Luna agrees. Leonora takes poison to escape Luna’s clutches. Meanwhile, Azucena tells Manrico again about her mother’s death by fire. Leonora visits the prison, bringing Manrico the news of his imminent release. However, he accuses her of betraying their love. It is not until the moment of her death that he understands she sacrificed herself for his sake. Luna realises that he was deceived by Leonora and orders Manrico’s execution. Not until it is too late does Azucena reveal to him that Manrico is none other than the old Count Luna’s kidnapped son and thus his brother.
Ferrando and Luna’s troops are convinced that victory in the civil war will soon be theirs. However, Luna is more interested in winning back Leonora. Azucena is seized by Luna’s men. Ferrando claims to recognise in her the witch who once kidnapped Count Luna’s brother. Luna discovers that Azucena is Manrico’s mother and decides to take revenge on her. Meanwhile, thinking themselves safe, Leonora and Manrico plan to marry. One of Manrico’s companions tells him of Azucena’s capture. Manrico sets off at once to save her.
Part Four: The Execution
Manrico’s rescue attempt has failed. He now finds himself a captive of Luna together with Azucena. Leonora promises to submit to Luna if he frees Manrico. Luna agrees. Leonora takes poison to escape Luna’s clutches. Meanwhile, Azucena tells Manrico again about her mother’s death by fire. Leonora visits the prison, bringing Manrico the news of his imminent release. However, he accuses her of betraying their love. It is not until the moment of her death that he understands she sacrificed herself for his sake. Luna realises that he was deceived by Leonora and orders Manrico’s execution. Not until it is too late does Azucena reveal to him that Manrico is none other than the old Count Luna’s kidnapped son and thus his brother.