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Subject: Re: Plot failures (was perfect operas)
From: Stephen Charitan <[log in to unmask]>
Reply-To:Stephen Charitan <[log in to unmask]>
Date:Fri, 10 Aug 2018 18:07:18 -0400
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Dear Idia,

I don't disagree...there may be too many coincidences for it to make sense
as a cohesive whole, but in terms of the power of its isolated scenes I can
see why Verdi was attracted to it - why it inspired some of his most
stirring music and why it continues to hold the stage.  If you boil it down
to essentials it's powerful stuff:

-The pre-opera relationship between Azucena and her Mother is vividly
recalled in musical flashbacks...

-The conflict between Azucena's mistaken murder of her own child and the
parentage of the child that did survive...

-Leonora's fascination with a mysterious and melodious "Troubadour" -
someone outside (but really inside) her aristocratic circle

-Manrico's curious heritage - A Gypsy's "son" or someone else?

-Di Luna's frustration as a nobleman being bested in Leonora's affections
by said "Gypsy's son" who is actually his brother

-Manrico's filial loyalty to a woman who is not his mother

I wouldn't change a word or a note...

Steve

On Fri, Aug 10, 2018 at 5:43 PM, Idia Legray <[log in to unmask]> wrote:

> Frankly, I could make a case and find a very logical reason why that wrong
> baby was dropped in the fire.  Azucena, at this point, was completely
> deranged having to watch her mother at the pyre.  No wonder she didn't
> know what she was doing.  Who can blame her?
> I'm probably alone but I actually thought Trovatore was an opera that
> made sense.
>
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