Season 2016/2017

Il trovatore


Jader Bignamini


Àlex Ollé (La Fura dels Baus)

Chorus Master

Roberto Gabbiani


Alfons Flores


Lluc Castells

Lighting Design

Urs Schönebaum

Interpreti principali

Count di Luna

Simone Piazzola /
Rodolfo Giugliani 3, 5, 8


Tatiana Serjan /
Vittoria Yeo 3, 5, 8


Ekaterina Semenchuk /
Silvia Beltrami 3, 5, 8


Stefano Secco /
Diego Cavazzin 3, 5, 8


Carlo Cigni


Reut Ventorero*


Aleandro Mariani*

An old gipsy

Riccardo Coltellacci /
Francesco Luccioni 3, 7, 8, 10

A messenger

Aurelio Cicero /
Giordano Massaro 3, 7, 8, 10

* After the project “FABBRICA – YOUNG ARTIST PROGRAM” of the Teatro dell’Opera di Roma


Orchestra and Chorus of the Teatro dell’Opera di Roma

New Production
In coproduction with De Nationale Opera Amsterdam and Opéra National Paris


With italian and english subtitles


The guard room in the Aljaferia Palace in Zaragoza, residence of the kings of Aragon. In a hall of the palace the men-at-arms of the Count of Luna are keeping watch. Ferrando, the captain of the guards, tells the story of the present Count’s younger brother, Garzia: one day many years ago, a gypsy woman, caught lurking near the baby’s cradle and suspected of witchcraft was condemned to be burnt at the stake. The witch’s daughter, Azucena, avenged her mother by kidnapping the child, and some time later, in the same spot where the witch had been burnt to death, were found the blackened bones of an infant; no one ever doubted that they were of the hapless child.
The gardens of the palace
. Leonora, a lady-inwaiting to the Queen, is telling Ines how she fell in love with an unknown knight, the admired victor of a tournament; the outbreak of civil war has prevended her from seeing him again. While the two women with draw to their apartments, the Count of Luna comes upon the scene; he is in love with Leonora and has finally made up his mind to declare his love. But a voice raised in song halts him, and inflames his jealousy; it is Manrico, the unknown knight. Leonora, hearing his voice, comes down into the garden and in the darkness mistakes the Count for the troubadour and tremulously goes towards him. When she realizes her mistake, she tries to explain it to the disappointed Manrico. Meanwhile the Count has recognised in his rival a follower of the outlawed Count of Urgel: this is yet another reason for challenging Manrico to a duel. Leonora fants while the men, drawing their swords, prepare to do battle.


The camp of the gypsies in the mountains of Biscay. Manrico has been wounded and has taken refuge with Azucena, the gypsy of Ferrando’s story, whom he believes to be his mother. The gypsy relates the tragic outcome of her attempt to avenge her mother’s dreadful, unjust death: crazed by grief, a fatal error caused her to throw into the burning pyre not one of the old Count of Luna’s two sons, but her own child. Manrico, amazed at this revelation, asks her who he is, then, but Azucena quickly regains command of herself and takes back her confession, reminding him of the many proofs of her love that she has given him. Not the least of which being the healing of the wounds he suffered in the battle of Pelilla at the hands of the young Count of Luna, who thus so inge nerously repaid him for sparing his life the night of the duel: Manrico confesses to Azucena, in fact, that at the very instant in which he was about to despatch his opponent, a secret impulse, stronger than his conscious will, stayed his hand. A messenger brings Manrico orders to take command of the newly conquered citadel of Castellor; he also informs him that on hearing the false news of his death, Leonora has decided to take the veil. Deaf to Azucena’s entreaties, Manrico rushes off.
A convent near the citadel of Castellor
. With his followers, the Count enters by stealth the convent to abduct Leonora, but his plans are foiled by arrival of Manrico. Surrounded and disarmed by Manrico’s men, he flees to avoid falling a prisoner to them. Leono ra, overjoyed at having found Manrico alive, goes off with him.


Luna’s camp under the walls of Castellor. The Count’s soldiers are encamped under the walls of Castellor and, incited by Ferrando, they prepare to do battle once again. The Count is tortured by the thought of Leonora in Manrico’s arms and by his anxiety to get her back. Meanwhile, some of his soldiers come upon a gypsy woman, Azucena; they question her and from her words Ferrando recognises in her the witch’s daughter, the gypsy who stole the Count of Luna’s younger brother. Azucena denies their accusations and justifies her presence in the neighbourhood by saying that she has come to seek her son, Manrico. On hearing this hated name, the Count decides, solely for the joy of causing Manrico terrible grief, to condemn Azucena to death.
A chamber near the chapel in the citadel of Castellor. Although their happiness is clouded by the knowledge of the imminent enemy attack, Manrico and Leonora are about to celebrate their marriage in the chapel of Castellor. But the ceremony is interrupted when Manrico, learning from Ruiz that Azucena is to be burnt at the stake, rushes off to attempt to rescue her.


Before the dungeon-keep in the Aljaferia Palace. Manrico has been taken prisoner, and Ruiz guides Leonora to the tower where he has been imprisoned. Leonora pours out her grief and is answered by Manrico’s song, while an invisible choir chants the solemn notes of the «Miserere». From the palace of Aljaferia now arrives Count of Luna, and confirms to his men the order that at dawn Manrico is to be beheaded and Azucena burnt alive. Leonora comes out from her hiding place and going up to him, swears to be his if he will grant Manrico freedom. The Count eagerly accepts her offer, but Leonora stealthily takes the poison concealed in a ring she is wearing.
In the dungeon. Manrico and Azucena are waiting, with very different sentiments, to meet their death: Azucena with terror at the thought of the stake, Manrico with fortitude and resignation. Leonora enters their cell and announces that she has obtained Manrico’s freedom. He, however, guessing at the infamous bargain that has been the price of his release, scornfully reject her until Leonora reveals that to avoid giving herself to the Count, she has taken poi son. The Count enters and surprises them in the moment of their last tragic farewell: furious at the trick Leonora has played on him, he orders Manrico to be executed immediately. Azucena shakes herself from the stupor into which she had fallen and reveals to the Count the story of the exchange of the two children so long ago. Manrico was Garzia, her mother is avenged, and the Count’s horror at having had his own brother put to death is all in vain.


Teatro Costanzi

More info


First performance

  • Tuesday
    HOURS 20:00 Round A

The replicas

  • Thursday
    HOURS20:00 Round B
  • Friday
  • Saturday
    HOURS18:00 Round D
  • Sunday
    HOURS16:30 Round E
  • Tuesday
    HOURS20:00 Round C
  • Wednesday
    HOURS20:00 Round F
  • Friday

Preview youth