Mixed babies in the operas

Press, 3 July 1979, Page 21

Mixed babies in the operas

Mix-ups with babies provide the themes of two operas to be presented in Christchurch this month — “I! Trovatore,” which will be performed in concert form by the Royal Christchurch Musical Society choir in the Town Flail on Saturday, and “HMS Pinafore,” the Gilbert and Sullivan opera which will be presented by the D’Oyly Carter Company in the James Hay Theatre from July 16 to 21. In “Pinafore” a nurse’s mix-of two boys, one of “upper crust” the other of lower class, leads to an awkward situation when the “poor” man falls in love with a rich man’s daughter, and the class barrier rears its ugly head. At the crucial time the old nurse tells her secret, the seaman and captain swop roles, and the lovers can be married.

The mix-up in “Trovatore” is of a different nature.

After an old gypsy woman is seized and burnt at the stake for bewitching the infant son of the Count Di Luna, the gypsy’s baby, Garzia, and, as she fancies, burns him on the same pyre as her mother. She is horrified, however, to find that she has thrown her own child on the flames by mistake. The desire for revenge becomes the sole object of her life. She brings up the r ount’s child as her own son, Manrico. When he grows up he distinguishes himself in a tournament, where he is crowned by Leonora and they fall in love. The new Count Di Luna, elder brother of the stolen child, is also in

love with Leonora and so becomes jealous of Manrico. Manrico. disguised as a troubadour (from whence the opera derives its name), is challenged to a duel by the Count. Manrico wins, but spares the Count’s life.

Manrico is reported killed in battle by the Count, and Leonora resolves to enter a convent. However Manrico is nursed back to health by Azucena. 'The Count resolves to abduct Leonora from the convent, but he is stopped by Manrico, who carries her off to the fortress of Castellor. The Count captures Azucena and orders that she be burnt. Manrico is about to marry Leonora when he hears of his mother’s plight. H? hastens to her aid, but is defeated by the Count, and he and his mother are imprisoned. Leonora promises to marry the Count if he releases Manrico; but she takes poison to avoid marrying him. When she tells Manrico he is free to go, he denounces her as unfaithful, and too late he discovers the truth. She dies in his arms. The Count is enraged, and orders Manrico’s execution, to be watched by Azucena. His triumph is turned to horror when Azucena tells him he has killed his brother.

The opera was first produced in January, 1853, and was an immediate success. Verdi received the sort of adulation that nowdays is usually reserved for pop stars. In spite of the complexities of the plot, and its absurdities, the opera is full of

great songs. The Anvil Chorus, the Soldiers’ Chorus and the Miserere are all well known. Other numbers frequently to be found in collections of “Gems from the Opera” include “Stride ia vampa,” “11 balen del suo sorriso,” “Di quella pira” “D’amor

sull’ali rosee” and “Ai nostri monti.” The society hopes io have programmes for the concert available at the Town Hall a day or so before the concert. It believes that familiarity with the story will help the audience to appreciate the opera.