Operas Every Child Should Know: Descriptions of the Text and Music of Some of the Most Famous MasterpiecesBacon, Mary Schell Hoke
History
Operas Every Child Should Know: Descriptions of the Text and Music of Some of the Most Famous Masterpieces
Bacon, Mary Schell Hoke
Music -- History and criticism -- Juvenile literature; Operas -- Stories, plots, etc.
"True, mother, and I will kill him," the troubadour said suddenly. The
thought of di Luna's rivalry overcame his sense of humanity.
The forge fire died down, and Manrico, exhausted by his mother's
story, lay back upon his couch while his mother continued to sit, lost
in her tragic thoughts, but while he rested, half sleeping, the long
clear note of a horn was heard, and Manrico started up.
"It is Ruiz," he said anxiously, believing it to be his servant.
Snatching his horn from his belt, he blew a clear, answering blast. In
a moment a messenger, who was not Ruiz, ran in.
"Quick, what is thy news?" Manrico demanded, made apprehensive by
illness and the stories he had heard. He expected misfortune from
every quarter.
"A letter for thee, Master," the messenger panted, leaning against the
rocky wall, worn with running. Manrico read excitedly:
"Our men have taken Castellar. The Prince's order is that thou shalt
come instantly to defend it. Unless thy wounds have laid thee low, I
shall expect thee. Know that, deceived by the tidings of thy death,
the beautiful Lady Leonora will this day become the elect of Heaven."
Manrico started, then stared at the letter again. Leonora to enter a
convent where he could never see her again! No!
"Bring me my horse, quick. I shall join thee below the hill. Mother, I
go! My mantle!" And snatching his cloak and helmet, his mother threw
her arms about him.
"Where do you go, my son?" she cried with anxiety.
"To save Leonora--let me go."
"Thou art still ill. It will kill thee, and I shall die if I lose
thee."
"Farewell, mother; I go. Without Leonora, I could not live. I go."
Tearing himself from her he rushed down the mountain.
_Scene II_
Again it was night; there was always an appearance of darkness and
gloom about the lovers. From the cloisters of the convent to which
Leonora had gone, there stretched away at the back a deep wood. The
Count, having heard where Leonora was hidden, had also started with
his followers and vassals, to reach the convent before she could take
the veil and retire forever beyond his reach. When he reached the
convent it was just before day, and with Ferrando he stole into the
gardens, wrapped in his long cloak.
"Everything is still; the convent is sleeping. They have ceased their
prayers awhile and we are safe, Ferrando," the Count whispered.
"It is a bold adventure, Count. I fear----"
"Do not speak. A man does not fear when he is in danger of losing the
woman he loves." He began to sing softly:
[Music:
On the light of her sweet glances,
Joy celestial beameth upon me.]
It was a love song to Leonora, who, within the convent, was about to
bury herself from all the world, believing Manrico to be dead. As the
light of day slowly flushed the scene, a bell sounded from the chapel
tower.
"That bell, Ferrando!"
"It is to summon the nuns to prayer. They will pass this way."
Public-domain text, read in full here on John Shaqi.
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