a sad farewell to her dreams of happiness in the
aria, "Addio! del passato," in harsh contrast with which is heard a
bacchanalian chorus behind the scenes ("Largo al quadrupede"). 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. It is followed by the aria, "Ah! gran Dio," for Violetta,
which leads to the concluding quintet and death scene.

IL TROVATORE.

"II Trovatore," an opera in four acts, words by Cammarano, was first
produced in Rome, Jan. 19, 1853. In 1857 it was brought out in Paris
as "Le Trouvere," and in London, 1856, in English, as "The Gypsy's
Vengeance." It was produced in Rome in the same year with "La
Traviata," but unlike the latter, it was greeted at once with an
enthusiastic welcome; and it has held the stage ever since as one of
the most popular operas in the modern repertory. In this regard,
indeed, it shares with "Martha" and "Faust" the highest place in
popular admiration.

The opera opens with a midnight scene at the palace of Aliaferia,
where the old servitor, Ferrando, relates to his associates the story
of the fate of Garzia, brother of the Count di Luna, in whose service
they are employed. While in their cradles, Garzia was bewitched by an
old gypsy, and day by day pined away. The gypsy was burned at the
stake for sorcery; and in revenge Azucena, her daughter, stole the
sickly child. At the opening of the opera his fate has not been
discovered.

As the servitor closes his narrative and he and his companions depart,
the Count di Luna enters and lingers by the apartment of the Duchess
Leonora, with whom he is in love. 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. The Count challenges him to combat,
and as they prepare to fight she falls to the ground insensible.

In the second act we are introduced to a gypsy camp, where Azucena
relates to Manrico, who has been wounded in the duel with the Count,
the same story which Ferrando had told his friends, with the addition
that when she saw her mother burning she caught up the Count's child,
intending to throw it into the flames, but by a mistake s