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The Royal Opera

  • Jakub Hrůša

    Music Director Designate

  • Oliver Mears

    Director of Opera

Il trovatore

DRAMMA IN FOUR PARTS

Thursday 13 March 2025 7.30pm

The 365th performance by The Royal Opera at the Royal Opera House.

Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.

Approximate Timings

The performance lasts approximately 2 hours and 30 minutes, including one interval

  • Parts I and II

    65 minutes

  • Interval

    25 minutes

  • Parts III and IV

    60 minutes


A co-production with Opernhaus Zürich

Credits

  • Music

    Giuseppe Verdi

  • Libretto

    Salvadore Cammarano

    (with additions by Leone Emanuele Bardare) after Antonio García Gutiérrez’s play El Trovador

  • Conductor

    Giacomo Sagripanti

  • Director

    Adele Thomas

  • Revival Director

    Simon Iorio

  • Designer

    Annemarie Woods

  • Lighting designer

    Franck Evin

  • Dramaturg

    Beate Breidenbach

  • Choreographer

    Emma Woods

Cast

  • Manrico

    Michael Fabiano

  • Leonora

    Marina Rebeka

    replaces Rachel Willis-Sørensen

  • Count di Luna

    Aleksei Isaev

  • Azucena

    Monika-Evelin Liiv

    replaces Agnieszka Rehlis

  • Ferrando

    Riccardo Fassi

  • Ines

    Valentina Puskás

  • Ruiz

    Ryan Vaughan Davies

  • An Old Gypsy

    Dominic Barrand

  • Messenger

    Andrew O'Connor

  • Dancers

    Bruno Aversa

    Matthew Cotton

    Cameron Everitt

    Louis Gladman

    Jordan Jewell

    Gareth Mole

    Daniel Perie

Valentina Puskás and Ryan Vaughan Davies are Jette Parker Artists

Due to illness, Marina Rebeka will replace Rachel Willis-Sørensen and Monika-Evelin Liiv will replace Agnieszka Rehlis in tonight's performance

Chorus and Orchestra

  • Chorus

    Royal Opera Chorus

  • Chorus Director

    William Spaulding

  • Orchestra

    Orchestra of the Royal Opera House

  • Concert Master

    Magnus Johnston

Extra chorus

  • Sopranos

    Jessica Broad

    Celeste Gattai

    Kathryn Jenkin

    Bernadette Lord

    Elizabeth Roberts

    Ros Waters

    Vanessa Woodfine

  • Mezzo-sopranos

    Jeanette Ager

    Maria Brown

    Tamsin Dalley

    Siobhain Gibson

    Maria Jones

    Clare McCaldin

    Zoe Todd

    Jennifer Westwood

  • Tenors

    Andrew Busher

    Phillip Bell

    Simon Biazeck

    Jonathan English

    James Geer

    Andrew Friedhoff

    Henry Strutt

  • Basses

    Oliver Gibbs

    Gabriel Gottlieb

    Gavin Horsley

    Simon Preece

    Mark Saberton

    Jonathan Wood

Production credits

  • Music preparation

    Andrew Griffiths

    Patrick Milne

    Peggy Wu

    Benjamin Woodward

  • Assistant Director

    Deborah Cohen

  • Assistant Choreographer

    Gareth Mole

  • Fight Director

    Philip D’Orléans

  • Video Effects

    Tieni Burkhalter

  • Language Coach

    Barbara Diana

Peggy Wu is a Jette Parker Artist

The Royal Opera

  • Patron

    HM The King

  • Music Director Designate

    Jakub Hrůša

  • Director of Opera

    Oliver Mears

  • Director of Casting

    Peter Mario Katona

  • Associate Director

    Netia Jones

  • Administrative Director

    Cormac Simms

Synopsis

PART I: THE DUEL

Scene 1: Count di Luna’s camp

Count di Luna’s officer Ferrando orders his men to watch for the mysterious troubadour who Luna believes is his rival for the love of Leonora. While they wait, Ferrando tells the story of how the Count’s infant brother Garzia mysteriously disappeared. One day, an old gypsy woman was discovered by Garzia’s cradle. The child became sickly soon after, so the gypsy was arrested for witchcraft, and burned at the stake. On the day of the execution Garzia disappeared, and the charred remains of a baby were found in the gypsy’s funeral pyre. The gypsy’s daughter was suspected, but could not be found. Ferrando reminds his men that the old Count di Luna’s last request was for his elder son to find Garzia, whom he believed had survived. Ferrando claims the ghost of the old gypsy woman still roams at night. As midnight chimes, the men disperse.Scene 2: The palace gardens

Leonora tells her companion Ines about the mysterious man she met before the war. He serenades her each night as her troubadour. Ines suggests it would be safer for Leonora to forget him, but Leonora declares she would rather die.As Count di Luna searches for Leonora, he hears the voice of the troubadour – Manrico – singing a serenade. Leonora hurries to meet Manrico, and is confronted by Luna. Manrico mistakenly suspects that Leonora has betrayed him. The Count and Manrico agree to fight a duel.

PART II: THE GYPSY

Scene 1: The Gypsy camp

In the gypsy camp, Azucena recalls the horror of her mother’s death, and her vow to avenge her. Azucena tells Manrico about what happened to the old Count di Luna’s younger son: she had intended to burn him on her mother’s funeral pyre, but in her disturbed state of mind killed her own child instead. Manrico asks if this means that he is not Azucena’s son. Azucena feigns confusion, but assures Manrico of her love for him. Manrico tells Azucena about his duel with Luna: he was victorious but felt irresistibly compelled to spare his rival. A Messenger arrives with the news that Leonora, believing Manrico to be dead, is about to become a nun. Manrico determines to find Leonora.Scene 2: A Convent

Count di Luna is still very much in love with Leonora and plans to kidnap her from the convent. He and his men prepare to strike. Leonora enters with the nuns to take her vows. Before Luna can intervene, Manrico’s men surround him and his soldiers, and Manrico and Leonora escape.

INTERVAL

PART III: THE GYPSY’S SON

Scene 1: The Count’s camp

The Count’s men prepare for the next day’s battle. Ferrando drags in Azucena, who was found wandering near the camp. Azucena pleads her innocence, but Ferrando recognizes her as the suspected murderer of the Count’s infant brother. Luna condemns her to death by fire.Scene 2: An army camp, commanded by the Count’s Enemies

Leonora and Manrico are about to be married. Leonora is anxious for Manrico’s safety in the forthcoming battle, and he attempts to calm her. Ruiz comes to inform Manrico that Count di Luna has condemned Azucena to be burnt to death. Manrico gathers his men and prepares to attack the Count’s army.

PART IV: THE EXECUTION

Scene 1: Outside Manrico’s prison

Manrico’s attack has failed and now he and Azucena are the Count’s prisoners. Leonora has Ruiz conduct her to where Manrico is being held. The suffering of the prisoners moves her and awakens her courage. Manrico calls to Leonora, bidding her farewell.Leonora attempts to bargain with Luna, but he wants revenge. At last, he agrees that if Leonora will give herself to him, he will free Manrico. Leonora surreptitiously swallows poison, concealed in a ring, to ensure that she will never be the Count’s mistress.Scene 2: Manrico’s prison

Azucena is terrified of death, and Manrico soothes her by reminding her of their happy past life in the mountains. Azucena falls asleep. Leonora arrives to free Manrico, but refuses to accompany him. Manrico accuses her of betraying him, and Leonora explains her bargain with the Count, and what she has done to avoid it. She collapses as the Count arrives. As Leonora dies, the Count orders that Manrico be killed at once, and forces Azucena to watch. Azucena begs him to stop and listen to her, but Luna refuses. As Manrico is killed, Azucena announces that Count di Luna has murdered his own brother, and her mother is at last avenged.

Guidance

Suitable for ages 8+

This production contains themes of murder, suicide and reference to an infant death.

Language

Sung in Italian with English surtitles. Captions and translations in English will be displayed on screens above the stage and around the auditorium. Some performances also include Captions that give more details about the sound.

Generous support from

Further information

DIGITAL CAST SHEETS

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GUIDELINES

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you. Mobile phones should be turned off and stored away safely during performances.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

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