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Punch, or the London Charivari, Volume 103, October 29, 1892 By: Various |
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VOL. 103 OCTOBER 29, 1892 IMPRESSIONS OF "IL TROVATORE." ( BY A MATTER OF FACT PHILISTINE AT COVENT GARDEN. ) ACT I. SCENE 2. Leonora's confidant evidently alive to the
responsibilities of her position. Watch her, for example, when her
Mistress is about to confide to her ear the dawn of her passion for
Manrico . She walks Leonora gently down to the footlights, launches
her into her solo, like a boat, and stands aside on the left, a
little behind, with an air of apprehension, lest she should come to
grief over the next high note, and a hand in readiness to support her
elbow in case she should suddenly collapse. Then, feeling partially
reassured, she goes round to inspect her from the right, where she
remains until her superior has completed her confidences, and it is
time to lead her away. Operatic confidant sympathetic but a more
modern heroine might find one "get on her nerves," perhaps. Manrico
a very robust type of Troubadour but oughtn't a Troubadour to carry
about a guitar, or a lute, or something? If Manrico has one, he
invariably leaves it outside. Probably doesn't see why, with so many
competent musicians in the orchestra, he should take the trouble of
playing his own accompaniments. And why does the Curtain invariably
come down as soon as swords are drawn? Tantalising to have all the
duels and fighting done during the entr'actes. [Illustration: Manrico, a rather full blown "Ghost in Hamlet."] ACT II. SCENE 1. Azucena insists on telling Manrico a long and
rather improbable story of how, in a fit of absorption, she once burnt
her own son in mistake for the Conte di Luna's, Manrico listens, as
a matter of filial duty because, after all, she is his mother but
he is clearly of opinion that these painful family reminiscences are
far better forgotten. Perhaps he suspects that her anguish may be
due to a severe fit of indigestion the symptoms of which are almost
indistinguishable from those of operatic remorse. At all events, he
does not find his parent a cheerful companion, and, as soon as he
finds a decent excuse for escape, takes it. SCENE 2. The Cloisters of a Convent. Enter the Conte di Luna ,
with followers, to abduct Leonora . The followers range themselves
against a wall in the background, until the Count has finished
" Il Balen ." If their opinion was asked, they would probably be
in favour of his making rather less noise about it, if he really
means business but of course it is not their place to interfere.
Leonora enters to take the veil, with procession of nuns, preceded
by four female acolytes or are they pages? in white tights, carrying
tapers. The Count and his followers are evidently a little taken
aback an abduction not quite so simple an affair as they expected.
While they are working themselves up to it, Manrico appears, as the
stage direction says, "like a phantom." In a helmet, with a horsehair
tail, and a large white cloak, he does look extremely like the
Ghost in Hamlet , and which is, perhaps, why the Count, under the
impression that he is an apparition from some other Opera, allows him
to Walk off with Leonora under his very nose. Swords are drawn with
the usual result of bringing down the Curtain. [Illustration: "Azucena," or, "My pretty Chain!"] ACT III. SCENE 1. Soldiers discovered carousing, as wildly as is
possible on four gilded cruets, and a dozen goblets. Azucena
is brought before the Count, and manacled. Operatic handcuffs a
most humane contrivance with long links, to permit of the freest
facilities for entreaty and imprecation. Soldiers, who have been
called to arms, but stayed, from a natural curiosity to hear what the
Conte di Luna had to say to the Gipsy, go off, as she is led away
to prison, with a sense that they have seen all there is to be
seen, and a vague recollection that there is some fighting to be done
somewhere. SCENE 2. Leonora , and Manrico are about to be married; everything
prepared four apathetic bridesmaids, and the four acolytes in
tights who have possibly been kindly lent by the Convent for the
occasion in a vacuous row at the back of the scene... Continue reading book >>
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