November 17. 2018 - December 09. 2018

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November 17. 2018 - December 09. 2018

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Il trovatore

For this hot-blooded tale of love, jealousy, and retribution, Verdi created music that truly bursts with excitement!

And what wonderful characters—bold and courageous Manrico, his beloved Leonora, the vengeful Count di Luna, and the wild, obsessed gypsy Azucena. Each has thrilling music to sing as the drama unfolds in the smoldering atmosphere of darkly mysterious 15th-century Spain. The “Anvil Chorus,” Leonora’s “Miserere,” Manrico’s stirring call to arms—these are just a few of the fabulous highlights that make Il trovatore a feast of sumptuous singing.

Language: Sung in Italian with projected English translations
Running Time: 2 hours, 45 minutes with 1 intermission
Location: Lyric Opera House

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Cascades of high notes are sent into the stratosphere.”

Chicago Tribune

Lyric Opera triumphs in dazzling revival of 'Il trovatore.' ★★★★”

Chicago Sun-Times

With an evocative, visually striking production and four big-voiced singers bringing combustible firepower to this challenging work, this is Lyric’s finest Trovatore of recent decades.”

Chicago Classical Review

This “Trovatore” hinged on Wilson’s and Barton’s imposing vocals, which will be remembered long after the rest is forgotten.”

Chicago Tribune

Il trovatore videos

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Verdi's Il trovatore at Lyric Opera of Chicago

For this hot-blooded tale of love, jealousy, and retribution, Verdi created music that truly burst with excitement!

Jamie Barton on Verdi's Il trovatore

Hear from mezzo-soprano Jamie Barton as she talks about how she relates to her character of Azucena and why you don't want to miss Lyric's upcoming production of Verdi's Il trovatore.

Tamara Wilson on Verdi's Il trovatore

>Hear from Chicago-Area native, Tamara Wilson, as she talks about what has her excited to be performing at Lyric and why you need to see the latest production of Verdi's Il trovatore.

Lyric Opera of Chicago presents Verdi's Il trovatore

For this hot-blooded tale of love, jealousy, and retribution, Verdi created music that truly burst with excitement!

Patter Up! 60 seconds with Jamie Barton

Mezzo-soprano Jamie Barton, who portrays the role of Azucena in Verdi's Il trovatore, talks first jobs, her go-to karoke jam, and the best part of being an opera singer.

Il trovatore

by Giuseppe Verdi

The music featured is generously furnished by Warner Classics.

"Di geloso amor sprezzato"

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"Vedi! le fosche notturne" (Anvil Chorus)

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"Di quella pira, l'orrendo foco"

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Il trovatore

by Giuseppe Verdi

Lyric Opera Commentaries are sponsored by the Patrick G. and Shirley W. Ryan Foundation in memory of their parents.

© 2018/19 Lyric Opera Commentaries. All rights reserved. Recording & production services provided by Mark Travis. The music featured in Lyric Commentaries is generously furnished by Warner Classics.
A project of the Women’s Board

Commentary by Elinor Olin

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Il trovatore articles

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Jamie Barton Brings Vocal and Dramatic Fire to Azucena in Verdi's Il trovatore

Jamie Barton brings her portrayal of Azucena, the dark and deeply troubled central figure in Verdi's Il trovatore. She recently shared her thoughts about this powerful role.

Il trovatore brings more exciting debuts

Verdi's Il trovatore demands five great singers, and Lyric's got them! Two of these artists – Russell Thomas (Manrico) and Jamie Barton (Azucena) – have scored great successes at Lyric previously, and the other three will all be new faces and voices for our audience.

Synopsis

TIME: 19th century
PLACE: Spain

Scene 1. A hall in Aljafería Palace.

Ferrando, captain of the guard, rouses the soldiers resting in the guardroom. They are under orders of Count di Luna to keep watch for a troubadour who serenades Leonora, the queen’s lady-in-waiting, with whom the Count is also in love. Ferrando keeps the men awake by telling them the story of a baby, the Count’s brother: many years before, a gypsy had been burned at the stake for supposedly casting a spell on the baby. In revenge, the gypsy’s daughter stole the child. Later an infant’s bones – presumably those of the Count’s brother – were found in the ashes. Legend has it that the gypsy’s ghost still haunts the castle.

Scene 2. The ramparts of the palace.

As she awaits the troubadour, Leonora tells her companion Inez how she fell in love with an unknown knight. When civil war broke out, she heard nothing from him until one evening when she heard his voice serenading her. Faced with Inez’s disapproval, Leonora nevertheless swears that she would die for the troubadour. The Count is about to force his attention on Leonora, but the troubadour’s voice stops him. Leonora mistakes the Count for her lover and is, in turn, accused by the troubadour of infidelity. Challenged, Manrico identifies himself. The Count’s jealousy boils over at a rebel leader daring to enter the royal palace. The two men rush off to fight a duel.
Scene 1. A gypsy camp.

As dawn breaks over the gypsy camp, the usual work goes on. Azucena broods on her mother’s death. Manrico, who is recovering from wounds received in battle, fails to understand his mother’s words. Once alone with Azucena, he asks her to tell him the old story. She ironically comments that his ambition had led him far away so that he never learned the story of his grandmother’s death. Telling the story, her emotions overpower her. Azucena lets slip that, after stealing the Count’s child, in her delirium she threw her own child into the flames. When Manrico asks who he really is, Azucena insists that she was hallucinating and that he is indeed her son. She wonders why he spared the Count when given the chance to kill him in their duel. Manrico answers that a voice from heaven restrained him. Azucena orders him to swear to avenge her. A messenger informs Manrico that he must take command of Castellor, adding that Leonora, assuming he is dead, will enter a convent that evening. Azucena pleads with him not to leave, but he ignores her and rushes away.

Scene 2. A convent.

The Count arrives at the convent with his men. Tormented by his love for Leonora, he determines to abduct her before she can take her vows. Manrico arrives in time to stop him.
Scene 1. The Count’s camp.

The Count’s soldiers are relaxing before the assault on Castellor. A patron brings in a gypsy suspected of spying. Azucena protests that she is only searching for her son, who has abandoned her. When she says that she comes from Biscay, the Count questions her about his brother’s disappearance. Ferrando recognizes her, and when she calls out to the absent Manrico for help, the Count exults at his chance for revenge. Azucena curses the Count before she is dragged away.

Scene 2. Manrico’s fortress.

Manrico, about to be married to Leonora, assures her that love will unite them even in death should he be killed in the upcoming battle. When Ruiz brings news of Azucena’s capture and ensuing execution, Manrico vows to save her.
Scene 1. The Count’s castle.

Ruiz accompanies Leonora to the Count’s castle, where Manrico has been imprisoned following his failed rescue attempt. Determined to save his life, Leonora hopes that thoughts of her love will comfort Manrico in his despair. Hearing the monks’ prayer for the condemned and Manrico’s voice raised in farewell, Leonora again swears to save Manrico, even if she must die. When the Count appears, lamenting Leonora’s disappearance, she pleads for Manrico’s life, offering herself to the Count instead. While he gives orders to free the prisoner, she takes poison.

Scene 2. A prison cell.

Awaiting execution, Azucena is troubled by visions of her mother’s death. She and Manrico long to return to their life in the mountains. Azucena has just fallen asleep when Leonora appears, telling Manrico he is free. When she refuses to leave with him, he accuses her of giving herself to his rival. As he curses her, Leonora begins to feel faint. Manrico is horrified when she reveals her sacrifice for him. Witnessing her death, the Count orders Manrico’s immediate execution. Manrico’s farewell awakens Azucena. She turns on the Count, revealing that he has killed his own brother before crying out, “You are avenged, oh, mother!”

Program book

Go inside this production of Il trovatore with engaging articles, notes from the director, a complete plot synopsis, artist bios, and more.

View Digital Program Book

Meet the artists

Tamara Wilson

Leonora

Soprano Tamara Wilson made her Lyric debut in Il Trovatore (2018|19)

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Jamie Barton

Azucena

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Russell Thomas

Manrico

American tenor Russell Thomas is one of today’s most admired and stylistically versatile artists on the world’s most important stages.

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Artur Ruciński

Count di Luna

The Warsaw-born baritone belongs to a select group of Polish opera singers who have risen to international fame in recent years.

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Roberto Tagliavini

Ferrando

Italian bass Roberto Tagliavini made his Lyric debut as Ferrando/Il trovatore (2018|19)

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Lauren Decker

Inez

Ryan Opera Center Ensemble

Contralto Lauren Decker, a four-year member of the Ryan Opera Center, was a national semifinalist in the 2018 Metropolitan Opera National Council Auditions.

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Mario Rojas

Ruiz

Ryan Opera Center Ensemble

Tenor Mario Rojas was a member of the Ryan Opera Center for three years.

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Marco Armiliato

Conductor

Conductor Marco Armiliato's Lyric credits include Il trovatore (2018|19) and Rigoletto (2018|19). In 2010 his CD Verismo with Renée Fleming won a Grammy Award.

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Sir David McVicar

Original Director

The renowned Scottish director’s productions are seen annually in major houses worldwide.

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Roy Rallo

Revival Director

Director Roy Rallo made his Lyric debut with Il trovatore (2018|19)

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Charles Edwards

Set Designer

Set designer Charles Edwards's Lyric credits include Il trovatore (2018|19)

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Brigitte Reiffenstuel

Costume designer

Costume designer Brigitte Reiffenstuel's Lyric credits include Il trovatore (2018|19 & 2014|15)

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Jennifer Tipton

Original Lighting Designer

American Lighting Designer Jennifer Tipton has worked with Lyric Opera since 1988.

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Chris Maravich

Revival Lighting Designer

Chris Maravich, Lighting Director, has been with Lyric Opera since 2014

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Michael Black

Chorus Master

Michael Black has served Lyric Opera of Chicago since the 2013/14 Season.

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