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February 12th, 2012, 19:44
Act the second; La Zingara. Scene the second.
In which the Count is awesome and very hot.



Believing Manrico to be dead Leonora goes delusional and tries to join a convent so that they may be joined in the afterlife, or something. However, this scene is not about her but about the Count, who shows such a fiery burning soul he would be right at home in a manly fighting anime.

Il balen del suo sorriso manages to be both tender and manly, and Zancanaro's voice is really sexy on it. The following two segments with the Count ranting while Ferrando and the minions trying to get him to hide, first, and to stop himself of revealing himself before time, then, is one of my personal favorites, and the way it is here sung makes it really endearing and cute. Say, adorkable! And while "Non può nemmeno un Dio, donna, rapirti a me!" is the kind of thingie few guys can get away with saying the Count manages to make it sound both cool and, like, totally sincere. And the ending segment is pretty cool, too, with Manrico, Di Luna, Leonora, and several other characters all singing at the same time and going through a variety of feelings and moods.

Anyway, this is an often overlooked scene but I really like it so I hope you guys enjoy it and stuffies.

Edit: Oops, I kind of forgot. The part about the altar of Imeneo is a reference to another opera, Handel's Imeneo, in which the female protagonist is forced to marry against her will with the titular jerk, the theme of the story being about how it is more important to be honorable and stuffies than to be happy.



—> http://youtu.be/VEc5G4-N4v0 <—

Atrio interno di un luogo di ritiro in vicinanza di Castellor. Alberi nel fondo. È notte. Il Conte, Ferrando ed alcuni seguaci inoltrandosi cautamente avviluppati nei loro mantelli.

Inner atrium of a place of retreat near Castellor. Trees in the back. It is night. The Count, Ferrando, and some minions carefully advance wrapped under their cloaks.

Conte: Tutto è deserto, né per l'aura ancora suona l'usato carme… In tempo io giungo!

Count: Everything's deserted, and through the air now doesn't sound the usual hymns… At time I arrive!

Ferrando: Ardita opra, o Signore, imprendi.

Ferrando: Daring task, O lord, undertake.

Conte: Ardita, e qual furente amore ed irritato orgoglio chiesero a me. Spento il rival, caduto ogni ostacol sembrava a' miei desiri; novello e più possente ella ne appresta… L'altare! Ah no, non fia d'altri, Leonora! Leonora è mia! Il balen del suo sorriso d'una stella vince il raggio! Il fulgor del suo bel viso novo infonde in me coraggio! Ah! L'amor, l'amore ond'ardo le favelli in mio favor! Sperda il sole d'un suo sguardo la tempesta del mio cor.

Count: Daring, it is like raging love and irritated pride require of me. Wasted the rival, fallen all obstacles that appeared to my desire; then and most powerful there gets ready… the altar! Ah no, don't pay the debts of others, Leonora! Leonora is mine! The flashing light of her smile of a star defeats the ray! The brightness of her beautiful face infuses me courage! Ah! The love, the love on which I burn speaks in my favour! Squander the sun of her eyes, tempest of my heart! (That last line was particularly hard. Is it even correctly translated?)

Odesi il rintocco de' sacri bronzi.

It is heard the tolling of sacred bronze.

Conte: Qual suono! Oh ciel…

Count: That sound! Oh heaven…

Ferrando: La squilla vicino il rito annunzia!

Ferrando: The blaring near the rite announces!

Count: Ah! Pria che giunga all'altar… si rapisca!

Count: Ah! Before arriving to the altar… herself kidnaped!

Ferrando: Ah, bada!

Ferrando: Ah, pay attention!

Conte: Taci! Non odo… andate… di quei faggi all'ombra celatevi…

Count: Quiet! I don't hear… Let's go… from those beeches in the shadows let's hide…

Ferrando e seguaci si allontanano.

Ferrando and the minions remove themselves.

Conte: Ah! Fra poco mia diverrà… Tutto m'investe un foco!

Count: Ah! In a little while mine she will become… Whole I am assailed by fire!

Ansioso, guardingo osserva dalla parte donde deve giungere Leonora, mentre Ferrando e i seguaci dicono sottovoce…

Anxious, cautiously watches from where must arrive Leonora, as Ferrando and the minions say softly…

Ferrando, seguaci: Ardire! Andiam… celiamoci fra l'ombre… nel mister! Ardire! Andiam! Silenzio! Si compia il suo voler.

Ferrando, minions: Daring! Let's go… Let's hide under the shadow… in mistery! Boldness! Let's go! Silence! Complete is becoming his will.

Conte: Per me, ora fatale, i tuoi momenti affretta: La gioia che m'aspetta gioia mortal non è! Invano un Dio rivale s'oppone all'amor mio: Non può nemmeno un Dio, donna, rapirti a me!

Conte: For me, fateful hour, your time hurry: The joy that awaits for me is not mortal joy! In vain a rival God opposes my love: Not even a God could, lady, take you away from me!

S'allontana a poco a poco e si nasconde col coro fra gli alberi.

He little by little removes and hides himself with the choir between the trees.



—> http://youtu.be/5382BUgoFO4 <—

Coro religiose: Ah! Se l'error t'ingombra, o figlia d'Eva, i rai, presso a morir, vedrai che un'ombra, un sogno fu, anzi del sogno un'ombra la speme di quaggiù! Vieni e t'asconda il velo ad ogni sguardo umano! Aura o pensier mondano qui vivo più non è. Al ciel ti volgi e il cielo si schiuderà per te.

Religious choir: Ah! If mistakes stiffle you, o daughter of Eve, your eye, near death, will see that a shadow, a dream they were, or rather of a dream the shade, the hopes of this world! Come and be hidden by the veil from all human eyes! Breath or thought mundane here alive no longer is. To heaven you turn and heaven will unlock itself for you.

Leonora con Ines e seguito muliebre.

Leonora with Ines and womanly entourage.

Leonora: Perchè piangete?

Leonora: Why to cry?

Donne: Ah! Dunque tu per sempre ne lasci!

Donne: Ah! Hence you for ever leave us!

Leonora: O dolci amiche, un riso, una speranza, un fior la terra non ha per me! Degg'io volgermi a quei che degli afflitti è solo sostegno e dopo i penitenti giorni può fra gli eletti
al mio perduto bene ricongiungermi un dì! Tergete i rai e guidatemi all'ara!

Leonora: O sweet friends, a laugh, a hope, a flower earth has not for me! I must turn to those who the afflicted and alone support, and after penitent days I might between the chosen with he whom I lost be a day reunited! Wipe clean the eyes and guide me to the altar!

Conte: No, giammai!

Count: No, never!

Donne: Il Conte!

Women: The count!

Leonora: Giusto ciel!

Leonora: Just heaven!

Conte: Per te non avvi che l'ara d'imeneo.

Count: For you there is but the alter of Imeneo.

Donne: Cotanto ardia!

Count: So much fire!

Leonora: Insano! E qui venisti?

Leonora: Madman! To what did you come?

Conte: A farti mia.

Count: To make you mine.

E sì dicendo scagliarsi verso Leonora, onde impadronirsi di lei, ma fra esso e la preda trovasi, qual fantasma sorto di sotterra, Manrico. Un grido universale irrompe.

As if saying yes throws herself forward Leonora, so that he may take possesion of her, but between him and his prey appears, as a ghost from the underworld, Manrico. A universal shout.

Leonora: E deggio… e posso crederlo? Ti veggo a me d'accanto! È questo un sogno, un'estasi, un sovrumano incanto! Non regge a tanto giubilo rapito, il cor sospeso! Sei tu dal ciel disceso, o in ciel son io cor te?

Leonora: It's him… and can I believe it? I see you to me nearby! Is this a dream, an ecstasy, a superhuman spell! Can't bear by so much joy be taken, the heart suspended! Have you from heaven descended, or in heaven am I with you?

Conte: Dunque gli estinti lasciano di morte il regno eterno; a danno mio rinunzia le prede sue l'inferno! Ma se non mai si fransero de' giorni tuoi gli stami, se vivi e viver brami, fuggi da lei, da me.

Count: Hence the extinguished leave of death the eternal kingdom; To my injury relinquishes hell its prey! But if never was cut of your days the stem, if you live and to live you covet, escape from here, from me.

Manrico: Né m'ebbe il ciel, né l'orrido varco infernal sentiero… Infami sgherri vibrano mortali colpi, è vero! Potenza irresistibile hanno de' fiumi l'onde! Ma gli empi un Dio confonde! Quel Dio soccorse a me.

Manrico: Nothing into this has heaven, nor the horrid crossing of infernal passages… Vile goon vibrated the mortal strike, it's true! Irresistible power have the waves of the river! (WTF did I just say? :/) But his flow a God confounds! That God rescued me.

Donne, a Leonora: Il cielo in cui fidasti pietade avea di te.

Women, to Leonora: The heaven in which you trusted piety had of you.

Ferrando e seguaci, al Conte: Tu col destin contrasti: Suo difensore egli è.

Ferrando and minions, to the count: You with fate clashed: His protector it is.

Ruiz seguito da una lunga tratta di armati, e detti…

Ruiz followed by a large number of men-at-arms, and says…

Ruiz: Urgel viva!

Ruiz: Long live Urgel!

Manrico: Miei prodi guerrieri!

Manrico: My brave warriors!

Ruiz: Vieni…

Ruiz: Come…

Manrico, a Leonora: Donna, mi segui.

Manrico, to Leonora: Lady, follow me.

Conte: E tu speri?

Conte: And you hope for this?

Leonora: Ah!

Leonora: Ah!

Manrico, al Conte: T'arresta…

Manrico, to the Count: Halt yourself…

Conte, unsheathing the sword: Involarmi costei! No!

Count, to the Count: To get away with her! No!

Ruiz & armati, accerchiando il Conte: Vaneggi!

Ruiz & men-at-arms, surrounding the Count: Delirious!

Ferrando, seguaci: Che tenti, Signor?

Ferrando, minions: What do you attempt, Lord?

Il Conte è disarmato da quei di Ruiz.

The count is disarmed by Ruiz.

Conte: Di ragione ogni lume perdei!

Count: Of reason all light I lose!

Leonora, fra sè: M'atterrisce…

Leonora, to herself: It terrifies me…

Conte: Ho le furie nel cor!

Count: I have wrath in my heart.

Ruiz & Armati, a Manrico: Vien: La sorte sorride per te.

Ruiz and the Men-at-arms, to Manrico: Come: Luck smiles for you.

Ferrando e seguaci, al Conte: Cedi; or ceder viltade non è.

Ferrando and minions, to the Count: Yield; Now yielding isn't cowardice.

Manrico tragge seco Leonora, il Conte è respinto; le donne rifuggono al cenobio.

Manrico draws Leonora along, the Count is rejected; the women escape into the monastery.



And thus ends the second act. Next time we meet with them we will see ancient evil isn't at all needed to have epic battles and sieges, as thingies quickly spiral out of control when the armies of Aragon and Urgel become entwined in this kind of crazy love triangle. You have dancing soldiers, singing crossbowmen, and heroic charges to look forward!

'til next time!






@ Patrick

It seems that Manrico was faced with a Biowarian choice during the duel.
I would personally love Biowarian choices if they were used to foreshadow and make statements instead of just to half-ass thingies and save development resources and time.

Actually, I would love an anti-bioware game actually written to play with the idea of fate. Bioware and others like to mention how the player character is free of the bounds of fate and similar stuffies, yet in the end all of that amounts to nothing as all choices are Biowarian ones. Instead of that we should make a game with actual choice and consequence were everyone tells the heroine how she can't win against fate but she, and the player, keep trying and trying, making hundreds of choices, all of which have real consequences, just to have destruction and despair sweep everything away at the last moment in a manner that fits perfectly the endgame scenario the consequences of the heroine's choices created.

Cue Ah, la maledizione! with thunder and orchestra.

Back to Il Trovatore:
Which production or recording is that from? It looks pretty high class.

Also, this guy…



… is bleeping hot.

And all other thingies I can say about him would be highly unladylike so I will leave it at just that.

@ Mrowak

The perfidy… Now tell me that witches ain't wicked at all.
If she really had a wicked plan, wouldn't her motivations be the most honorable of the lot?

I also began to see the pattern. The whole genre relies on dramatic irony :stating the obvious:. That I realise more than the character does, is supposed to feel the impact of tragedy - which is bound to happen, right? At the end of it all I'd be surprised if it didn't come down to Azucena dancing on the ashes of the count and her own "son".
That's pretty much the idea, yes. Having the place of an omniscient observer instead of experiencing the world through a single character may ruin the mystery and the surprise, but instead of that it gives us a very nice, and impartial, view at the situation, and a pretty intimate understanding of the choices and actions leading into this or that consequence.

That aside the focus being on their passions and motivations, in their ambitions and lusts, in their powerful and grand, but irrational, actions also makes the characters quite humane and relatable. I personally find passion to be a much more interesting theme than morality, philosophy, emotion, or ideas. We should have more stories focused on that kind of thingie instead of so much pretentious or moralistic stuffies.

Tell me more, tell me more… Like, does he have a car?

Let's opera! Il Trovatore.
Last edited by Vii Zafira; February 12th, 2012 at 20:14.
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