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The second shock came when a party of ladies, Miss Cecilia Whaling being of the number, alluded to Mr. Gleason as the probable Manrico, and this for the purpose of "drawing out" Mrs. Turner. "Nonsense!" said Mrs. Turner. "Mr. Gleason has no more voice than a frog. He thinks he can sing, but you just ought to hear him." "Why, but, Mrs.
The plot is terribly confused, and much of it borders on the incomprehensible, but the outline of it is as follows. The mother of Azucena, a gipsy, has been burnt as a witch by order of the Count di Luna. In revenge Azucena steals one of his children, whom she brings up as her own son under the name of Manrico.
The act closes with a long duet between Violetta and Alfred, developing in the finale, by the entrance of Germont, to a very strong and dramatic trio. The third act opens in Violetta's chamber with a reminiscence of the introduction. In the next scene occurs the passionate duet with Alfred, "Parigi, o cara," which is a close copy of the final duet in "Trovatore" between Manrico and Azucena.
As the story concludes, a messenger arrives, summoning Manrico to the defence of the castle of Castellar, and at the same time informing him that Leonora, supposing him dead, has gone to a convent. He arrives at the convent in time to rescue her before she takes her vows, and bears her to Castellar, which is at once besieged by the Count's forces.
Manrico loves Leonora, a lady of the Spanish Court, who is also beloved by his brother, the younger Count di Luna. After various incidents Manrico falls into the Count's hands, and is condemned to death. Leonora offers her hand as the price of his release, which the Count accepts. Manrico refuses liberty on these terms, and Leonora takes poison to escape the fulfilment of her promise.
The third act opens in the camp of the Count, where Azucena, arrested as a spy, is dragged in. She calls upon Manrico for help. The mention of his rival's name only adds fuel to the Count's wrath, and he orders the gypsy to be burned in sight of the castle.
The act closes with the spirited aria, "Di quella pira," for Manrico, a number which has always been the delight of great dramatic tenors, not alone for its fine melody, but for its opportunity of showing the voice and using the exceptional high C which is introduced in the finale of the aria. The last act is replete with beautiful melodies following each other in quick succession.
At Milan he had seen reflected in his looking-glass not only Fernando, but Elvino, too, besides Edgardo and Manrico, and that whole romantic brotherhood.
Ferrando has already recognized her as the supposed murderer of the Count's brother, and her filial call to Manrico also reveals to him that she is his mother. He makes a desperate effort to rescue her, but is defeated, taken prisoner, and thrown into a dungeon with Azucena. Leonora vainly appeals to the Count to spare Manrico, and at last offers him her hand if he will save his life.
Hearing his voice, Leonora comes into the garden, supposing it is Manrico the troubadour, whom she had crowned victor at a recent tournament, and of whom she had become violently enamoured. As she greets the Count, Manrico appears upon the scene and charges her with infidelity. Recognizing her error, she flies to Manrico for protection.
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