vampa"), in which she tells the fearful story of the burning of her
mother. A very dramatic dialogue with Manrico ensues, closing with a
spirited aria for tenor ("Mai reggendo") and duet ("Sino all' elsa").
The scene is interrupted by the notes of a horn announcing the arrival
of a messenger. The second scene is introduced by a flowing, broad,
and beautifully sustained aria for the Count ("Il balen del suo"),
and, like Leonora's numbers in the garden scene, again develops from a
slow movement to a rapid and spirited march tempo ("Per me ora
fatale"), the act closing with a powerful concerted effect of quartet
and chorus.

The third act is introduced with a very free and animated soldiers'
chorus. Azucena is dragged in and sings a plaintive lament for Manrico
("Giorni poveri"). Two duets follow, between Azucena and the Count,
and Manrico and Leonora,--the second worked up with beautiful effect
by the blending of the organ in the convent chapel. The act closes
with the spirited aria, "Di quella pira," for Manrico,--a number which
has always been the delight of great dramatic tenors, not alone for
its fine melody, but for its opportunity of showing the voice and
using the exceptional high C which is introduced in the finale of the
aria.

The last act is replete with beautiful melodies following each other
in quick succession. It opens with a very florid aria for Leonora ("D'
amor sull' ali rosee"), leading to the exquisite scene of the
Miserere, "Ah che la morte,"--a number which has never yet failed to
charm and arouse audiences with the beauty and richness of its musical
effect. As the Count enters, Leonora has another powerful aria ("Mira
di acerbe"), which in the next scene is followed by the familiar duet
between Azucena and Manrico, "Si la stanchezza," upon which Verdi