Line #3 Theatre/IlTrovatore


1	''The Troubadour'' (''Il trovatore'', in the original Italian) is an opera by Music/GiuseppeVerdi. It's got your standard opera plot: the tenor and baritone fight over the soprano while the [[UsefulNotes/{{Romani}} magical gypsy]] mezzo-soprano plans revenge. Like many operas, it ends tragically.
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3	Classic film buffs might recognize it from Creator/TheMarxBrothers' ''Film/{{A Night at the Opera}}'' as the Brothers throw it into total chaos. The Anvil Chorus, which opens the second act, is also extremely well-known, and has been parodied at least since ''Theatre/ThePiratesOfPenzance'' (which came out less than thirty years after the opera itself).
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6	!!Tropes include:
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8	%%* AbsurdlyElderlyMother: Azucena. For details, see WritersCannotDoMath below.
9	* AllMusicalsAreAdaptations: The opera is based on the play ''El trovador'' by Spanish playwright Creator/AntonioGarciaGutierrez.
10	* BurnTheWitch: The fiery execution of Azucena's mother was how it all began.
11	* CainAndAbel: Subverted; Manrico and the Count Di Luna hate each other's guts, but they don't even know they're brothers.
12	* CounterpointDuet: The closing part of the big duet between the Count and Leonora - he sings about how happy he is to finally lead her to the altar and she sings about how she's going to die happily for Manrico.
13	* DoggedNiceGuy: Subverted - The Count isn't a villain, but he certainly isn't nice in his relentless pursuit of Leonora. She's in love with a troubadour? He's a soldier of the enemy? Kill him on the spot! She wants to enter a convent since she believes her lover is dead? Invade the place and get her back by force! However, he isn't the one to suggest that Leonora marry him to save Manrico - he keeps sending her away. And he seems intent on following through with their bargain until she dies before marrying him.
14	* DownerEnding: Out of four main characters, only one survives, screaming they wish they hadn't as their final line.
15	* DrivenToSuicide: Leonora. She takes a slow-enough acting poison so she still gets to sing for quite a while.
16	* FaintInShock: Leonora, when Manrico rushes off to risk his life trying to save his mother.
17	* GreenEyedMonster: Di Luna's actions are motivated primarily out of jealousy that Leonora, his crush, is Manrico's girlfriend instead.
18	* IdiotBall: The main characters play hot potato with it all over the place, but Leonora is the biggest offender. She agrees to marry Luna to save Manrico, but takes the poison before securing his release and, naturally, dies before getting him free.
19	* IrrelevantActOpener: Act II: Anvil Chorus, Act III: chorus drinking and gambling before the siege begins.
20	* LukeIAmYourFather: Inverted; Azucena tells Manrico that she ''isn't'' his birth mother.
21	%%* MyGodWhatHaveIDone: Pretty much how Luna feels at the end.
22	%%* OminousLatinChanting: The nuns choir and, even more, the Miserere.
23	* RashomonStyle: The story of Azucena's mother and the kidnapping of the Count's brother is told twice from two very different perspectives, first in Ferrando's aria which opens the opera (where he portrays her mother as an evil witch and her execution as completely justified), and then Azucena's monologue to Manrico in Act 2.
24	* RevengeBeforeReason: Azucena avenges the killing of her mother by the Count di Luna's father by kidnapping the Count's baby brother and throwing him on the fire where her mother was being burned alive. Later, she ended up raising the Count's brother as her own son, just so that years later she can either get him to kill the Count in a swordfight or trick the Count into killing his own brother.
25	* UsefulNotes/{{Romani}}: Azucena. Manrico is actually not one (by blood, at least).
26	* SiblingTriangle: A classic example, although Manrico and Di Luna don't even know they're brothers. It ends horribly for them both.
27	* SinsOfOurFathers: It was Luna's father who began the whole thing by burning Azucena's mother.
28	* ScarpiaUltimatum: Inverted as it's Leonora who offers herself.
29	* StalkerWithACrush: Di Luna is a classic example of this throughout the opera.
30	* TenorBoy: Manrico, although he's quite badass for a tenor. High Cs help...
31	** Played straighter in Verdi's score, which ''doesn't'' include the high Cs, which were added in by performers to make the role more dramatic.
32	* VillainousBSOD: Di Luna has a major one at the end, as he realizes he has executed his long lost brother and his only love has committed suicide to escape him.
33	* VillainLoveSong: Di Luna's aria is one of the most lyrical love songs in all opera.
34	* WorldOfHam: It's a pathetic, overly passionate story about love and hate.
35	* WritersCannotDoMath: According to the Count Di Luna, his younger brother disappeared fifteen years ago. This logically means that Manrico should be fifteen or sixteen. But the problem is that by this time, Azucena is supposed to be an old woman, and she had a baby boy at the time of the brother's disappearance. Taking this into account, it's highly unlikely that any woman would go from childbearing age to old age in only fifteen years.
36	* YouKilledMyFather: Actually, Your Father Killed My Mother. See RevengeBeforeReason for more details.

Context Theatre / IlTrovatore