Dramma lirico in vier Teilen | Text von Salvadore Cammarano und Leone Emmanuele Bardare nach »El trovador« von Antonio García Gutiérrez | In italienischer Sprache mit deutschen Übertiteln
Einführung 45 Min. vor Vorstellungsbeginn im Konzertfoyer
Even before our story starts, disaster is already running its course: Azucena is said to have killed old Count Luna’s son in revenge for her own mother’s death, burned at the stake as a witch. But in her delirium, she murders her own son. Manrico, the brother of the young count, survives and is raised by Azucena, who believes she is raising her own biological child. Now the brothers face each other as rivals, competing for the same woman. Jealousy and thoughts of revenge drive the Count to the extreme. As the drama escalates, a cruel showdown ensues. Will the truth see the light of day?
Revenge and jealousy are the driving forces behind this eerily beautiful opera. In an uncanny coda to the opera’s creation, librettist Salvadore Cammarano died suddenly while putting on Trovatore’s finishing touches. And the music Giuseppe Verdi composed to Cammarano’s text is as bleak as it is stirring: Verdi incorporated vocal climaxes and large tableaux, creating enticing contrasts to the darkness. “When you go to India or Central Africa, you will hear the Trovatore,” the composer spoke confidently about his work – and he was right. Alongside Rigoletto and La traviata, Il trovatore became part of Verdi’s so-called trilogia popolare.