|Il Trovatore Synopsis|
|Il Trovatore Libretto|
|Manrico / Azucena|
|Tenor / Mezzo-Soprano|
|Previous scene:||Vivra contende il giubilo|
|Next scene:||Si la stanchezza m'opprime|
Fiorenza Cossotto (born on April 22, 1935) is an Italian mezzo soprano. She is considered by many to be one of the great mezzo-sopranos of the 20th century. Born on April 22, 1936 in Crescentino, Province of Vercelli, Italy, Cossotto attended the Turin Academy of Music and graduated top of her class. After her studies with Mercedes Llopart, she made her operatic debut as Sister Matilde in the world premiere of Poulenc's Dialogues of the Carmelites in 1957 at La Scala in Milan. Her international debut was at the 1958 Wexford Festival as Giovanna Seymour in Donizetti's Anna Bolena. Her Covent Garden debut was in 1959 as Neris in Cherubini's Médée, with Maria Callas in the title role. A 1962 performance of the lead in La favorita at La Scala led to wider fame and she made her American debut in the same role in 1964 at the Lyric Opera of Chicago and as Amneris at the Metropolitan Opera in 1968. Altogether between the seasons of 1967--68 and 1988--89 she gave 148 performances at the Met (exclusively leading roles). She was considered an expert in portrayals of major mezzo/contralto roles in mid-19th century Italian opera; e.g. Favorita, Amneris, Azucena, Eboli, Preziosilla, Maddalena, Ulrica and Laura. She also essayed Carmen, Mozart's Cherubino, Urbain in Meyerbeer's Les Huguenots, Bellini's Romeo and Marfa in Khovantschina. She kept on singing, and in 2005 she celebrated her 70th birthday with a performance of Suor Angelica at the Théâtre Royal in Liège, Belgium. According to the book "Opera" published by Koenemann, "She [Cossotto] and Giulietta Simionato were the leading Italian mezzo-sopranos of the 1960s and 1970s. She [Cossotto] won plaudits in the annals of operatic history for her wonderful vocal timbre, her perfect singing technique, and the ease with which she could master different registers. Besides singing the great mezzo roles, she also took the outstanding alto parts of the Italian operatic repertoire." Among her competitors were Shirley Verrett, Grace Bumbry, Rita Gorr, Christa Ludwig, Marilyn Horne, Viorica Cortez and Tatiana Troyanos. Apart from mezzo and alto roles, she also sang soprano roles traditionally sung by mezzos such as Santuzza (Cavalleria Rusticana) and Adalgisa (Norma). She sang Adalgisa next to the Normas of Callas, Joan Sutherland, Montserrat Caballé, Leyla Gencer and Elena Souliotis. Full live documents (except only partially for Callas) of these performances have been commercially released in audio and/or video. She also tried her luck in soprano roles (alas in studio only) of Lady Macbeth and Marchesa del Poggio (Un giorno di regno), and made a commercial recording of soprano arias by Verdi. Her repertory at the Met included Amneris, Eboli, Adalgisa, Santuzza, Azucena, Dalila, Carmen (only on tour and in outdoor park concerts), Principessa (Adriana Lecouvreur) and Mistress Quickly (which she added in 1985, singing with Giuseppe Taddei as Falstaff)...
Plácido Domingo (Spanish pronunciation: [?pla?iðo ðo?mi??o]; born 21 January 1941), born José Plácido Domingo Embil, is a Spanish tenor and conductor known for his versatile and strong voice, possessing a ringing and dramatic tone throughout its range. In March 2008, he debuted in his 128th opera role, and as of July 2011, his 136 roles give Domingo more roles than any other tenor. One of The Three Tenors, he has also taken on conducting opera and concert performances, and he is the general director of the Los Angeles Opera in California...
A link to this wonderful artists personal web site: A link to this wonderful artists personal Website:
I send my kind and warm regards,
Orrido carcere. In un canto finestra con inferriata. Porta nel fondo. Smorto fanale pendente dalla volta.
Azucena giacente sopra una specie di rozza coltre, Manrico seduto a lei dappresso
Madre?... non dormi?
L'invocai più volte,
Ma fugge il sonno a queste luci... Prego...
L'aura fredda è molesta
Alle tue membra forse?
No; da questa
Tomba di vivi sol fuggir vorrei,
Perché sento il respiro soffocarmi!...
torcendosi le mani
Far di me strazio non potranno i crudi!
Vedi?... Le sue fosche impronte
M'ha già stampato in fronte
Il dito della morte!
Un cadavere muto, gelido!... anzi
Non odi?... gente appressa...
I carnefici son... vogliono al rogo
Trarmi!... Difendi la tua madre!
Ti rassicura, qui non volge...
senza badare a Manrico, con ispavento
Oh madre!... oh madre!
Un giorno, turba feroce l'ava tua condusse
Al rogo... Mira la terribil vampa!
Ella n'è tocca già! già l'arso crine
Al ciel manda faville!...
Osserva le pupille
Fuor dell'orbita lor!... ahi... chi mi toglie
A spettacol sì atroce?
cadendo tutta convulsa fra le braccia di Manrico
Se m'ami ancor, se voce
Di figlio ha possa d'una madre in seno,
Ai terrori dell'alma
Oblìo cerca nel sonno, e posa e calma.
La conduce presso alla coltre
Horrific prison. In a singing window with grating. Door in the bottom. Plain pendant lamp from the vault.
Azucena lying on top of a kind of rough blanket, Manrico sitting next to her
Mother? ... do not you sleep?
You invoked it several times,
But sleep escapes to these lights ... Please ...
Cold aura is troublesome
To your members perhaps?
No; from this
Tomb of living, I would flee, I would like to
Because I feel the breath suffocate me! ...
wringing his hands
Do not be attracted to:
Far of me torment will not be raw!
Ah! such as?
See? ... His dark footprints
He already printed on my forehead
The finger of death!
A mute corpse, cold! ... on the contrary
Do not you hear? ... people close ...
The executioners are ... they want to the stake
Draw me! ... Defend your mother!
It reassures you, here it does not turn ...
regardless of Manrico, with awe
Oh mother! ... oh mother!
One day, ferocious crowds, your ava led
At the stake ... Mira the terrible blaze!
She's already touching it! already the burnt horsehair
Heaven sends sparks! ...
Observe the pupils
Fuor dell'orita lor! ... ouch ... who takes me away
A spectacle so atrocious?
falling all convulsive in the arms of Manrico
If you still love me, if I voice
A child has a mother in her bosom,
To the terrors of the alma
Oblìo seeks in sleep, and poses and calms.
He leads her to the blanket