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"Do you put down what their names are, and what they do, and how they make mistakes, and take the wrong young lady to see Norma, and Faust and Il Trovatore? Il Trovatore's a nice opera; Theo and Leonora sounds something like Theodora. It doesn't sound anything like Priscilla, does it? The devil fly away with Priscilla, I say. Priscilla isn't musical, is it, Leonora?"
So strong is this resemblance, that we burst forth all together in the strains of the "Anvil Chorus"; and the accompaniment is beaten with tenfold more regularity and effect than on the stage, in the glare of the footlights, by "Il Trovatore's" gypsy-comrades. I doubt if Verdi's music was ever so rendered before, amid such surroundings.
Then he hurried them along in unfamiliar language to "O mio Fernando" and "Spiritu gentil," which they fondly imagined were hymns, until, with crowning audacity, after a few preliminary chords of the "Miserere," he landed them broken-hearted in the Trovatore's donjon tower with "Non te scordar de mi."
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