The cast and creative team of Verdi’s Il trovatore on what makes the opera's score and characters so impactful.
The Count di Luna loves Leonora, but she loves Manrico, the Count’s military enemy. Manrico’s mother Azucena tells him how her mother was burnt to death for supposed witchcraft against the Count’s baby brother. Azucena intended to throw the baby onto the fire – but blinded by revenge she lost her own child to the flames.
Verdi wrote Il trovatore hot on the heels of Rigoletto, and its premiere came a scant two months before that of La traviata. But Il trovatore, while no less popular than its neighbours, is quite different. Verdi himself had suggested the source material, Antonio García Gutiérrez’s play El trovador (1836), to his librettist Salvatore Cammarano. He encouraged Cammarano to pursue the same cross-genre developments Verdi had introduced in Rigoletto, writing in an early letter ‘if the entire opera were, let’s say, a single piece, I would find it more reasonable and just’. As it happens, the end result is highly formal in structure, and seems to look back before the innovations of Rigoletto – but audiences since the opera’s premiere have been captivated by its great dramatic concision and energy.
Associate lighting designer
- Performed by
- The Royal Opera
Il trovatore Digital Programme
Digital Programmes bring together a range of specially selected films, audio clips, pictures, articles, features, news and information, as well as exclusives and updates, and highlights from the Royal Opera House website, YouTube, SoundCloud and Flickr pages. Features are added as the performances approach, to enhance your experience of a production.
Cast sheets are available as PDFs
News and features
The audience reactions to the first revival of David Bösch’s production for The Royal Opera, broadcast to cinemas around the world.
To find out more visit the Il trovatore (2017) production page.