The third act opens in Violetta’s chamber with a reminiscence of the introduction.  As she contemplates her changed appearance in the mirror, she bids a sad farewell to her dreams of happiness in the aria, “Addio! del passato,” in harsh contrast with which is heard a bacchanalian chorus behind the scenes ("Largo al quadrupede").  In the next scene occurs the passionate duet with Alfred, “Parigi, o cara,” which is a close copy of the final duet in “Trovatore” between Manrico and Azucena.  It is followed by the aria, “Ah! gran Dio,” for Violetta, which leads to the concluding quintet and death scene.

IL TROVATORE.

“II Trovatore,” an opera in four acts, words by Cammarano, was first produced in Rome, Jan. 19, 1853.  In 1857 it was brought out in Paris as “Le Trouvere,” and in London, 1856, in English, as “The Gypsy’s Vengeance.”  It was produced in Rome in the same year with “La Traviata,” but unlike the latter, it was greeted at once with an enthusiastic welcome; and it has held the stage ever since as one of the most popular operas in the modern repertory.  In this regard, indeed, it shares with “Martha” and “Faust” the highest place in popular admiration.

The opera opens with a midnight scene at the palace of Aliaferia, where the old servitor, Ferrando, relates to his associates the story of the fate of Garzia, brother of the Count di Luna, in whose service they are employed.  While in their cradles, Garzia was bewitched by an old gypsy, and day by day pined away.  The gypsy was burned at the stake for sorcery; and in revenge Azucena, her daughter, stole the sickly child.  At the opening of the opera his fate has not been discovered.

As the servitor closes his narrative and he and his companions depart, the Count di Luna enters and lingers by the apartment of the Duchess Leonora, with whom he is in love.  Hearing his voice, Leonora comes into the garden, supposing it is Manrico the troubadour, whom she had crowned victor at a recent tournament, and of whom she had become violently enamoured.  As she greets the Count, Manrico appears upon the scene and charges her with infidelity.  Recognizing her error, she flies to Manrico for protection.  The Count challenges him to combat, and as they prepare to fight she falls to the ground insensible.

In the second act we are introduced to a gypsy camp, where Azucena relates to Manrico, who has been wounded in the duel with the Count, the same story which Ferrando had told his friends, with the addition that when she saw her mother burning she caught up the Count’s child, intending to throw it into the flames, but by a mistake sacrificed her own infant.  As the story concludes, a messenger arrives, summoning Manrico to the defence of the castle of Castellar, and at the same time informing him that Leonora, supposing him dead, has gone to a convent.  He arrives at the convent in time to rescue her before she takes her vows, and bears her to Castellar, which is at once besieged by the Count’s forces.