Chapter 37

Back at Aliaferia, Manrico was held prisoner. All was gloom and darkness again, with the prison tower where Manrico was confined looming near, its bars seeming very sinister, the evening more forbidding by contrast with that first moonlight night, when he had sung to Leonora in the gardens.

Leonora, protected by Ruiz, the faithful servant, stole from the shadows, while Ruiz tried to reconnoitre and spy out where Manrico was hidden. The Countess was worn with fear and trouble. While they stood there, outside the prison, the "Miserere" was dolorously chanted. The sound was ominous.

"They chant prayers for the dead!" she whispered, and then the bell tolled.

"It is the bell for the dead," she whispered again, fainting with despair. "What voices of horror. My God! death is very near;" and she stood listening. Then, mingling with the death chant, the troubadour's glorious voice floated out upon the night.

[Music:

Ah send thy beams, Aurora, Light me to early death, Waft her my longing, Waft her my latest breath! I leave thee, Leonora, ah, I leave thee!]

It was the doomed Manrico singing, from his prison, while waiting, wearily, for the dawn.

It was a fearful hour: The death song! The bell for the dead, the lonely troubadour's voice, and prayer for the dead, sounding through the night.

As Leonora listened, her anguish became too great to bear, and she resolved to save his life or die. Then di Luna came, accompanied by his men; he was giving hurried orders:

"The moment the day dawns, bring out the man, and here, on this spot, cut off his head," he commanded. The attendants entered the prison tower, and di Luna, believing himself to be alone, began to sing passionately of Leonora. He thought her dead in the ruins of Castellar, which his soldiers had demolished. While cursing his fate, Leonora came near to him and threw herself at his feet.

"Thou art not dead!" he cried.

"Nay--but I shall die unless you give me Manrico's life," she murmured pleadingly.

"He dies at dawn," di Luna answered.

"Spare him and I will wed thee," she swore. At that di Luna regarded her in amazement.

"You speak the truth?" he demanded, scarcely daring to believe his senses.

"Unbar those gates; let me into his dungeon and take him word that he is free, and I swear to be thy wife," she repeated.

"Hola! You there!" He called to his men. "Show this woman to Manrico's dungeon," he commanded, trembling with joy. Unseen by him, she took a deadly poison from her ring. She would free Manrico with her promise, and before di Luna could reach her she resolved to die. The men stood ready, and she went into the prison with them.

_Scene II_

In the gloomy tower a lamp swung from the ceiling by a chain, casting a dim uncertain light upon Azucena, whom Manrico had saved from the flames, but who had been imprisoned with him, and was presently to be killed also. She was lying on a low bed with Manrico beside her, and in her half-waking dream anticipated the scorching of the flame, which was soon to be lighted about her. She cried out pitifully.

"Art thou waking, mother?"

"This fearful dungeon, my son! It is a living tomb. But they shall not torture me: I am already dying. I shall be dead before they come to drag me to the stake."

Manrico tried to soothe her to sleep, saying that he would guard her; and gradually the poor wretch slept. As she did so, Leonora slipped into the room, through the door unbarred for her at di Luna's order.

"Leonora! I am dreaming," Manrico muttered.

"Nay, it is I. I have come to save thee. Do not waste a moment. Go!"

"Without thee--never! What have you done? How have you purchased my freedom?" he demanded, shrewdly. "It was by promising to be di Luna's wife," he cried. "Before that can be, I will kill thee and myself." He covered his face with his hands. He was in despair, and Leonora did not at first tell him that she was already dying.

"Go while there is time," she pleaded, feeling the poison in her veins.

Manrico saw her stagger and grow faint. "We shall not part," he whispered, as she fell at his feet! "We shall not part." He lifted her up, but she was already dying.

"Fly before di Luna discovers that I have cheated him," but Manrico still held the dying Leonora to his breast, and at that moment the Count entered.

"I have cheated him," she murmured. "I am dying." Hearing this the Count made an outcry and his guards rushed in.

"Away with him!" he shouted, pointing to Manrico; and Manrico was torn from Leonora, as she sank back dead. He was bound and hustled out, while Azucena was awakened by the confused sounds. She sat up and called desperately:

"Manrico!" Finding him gone and seeing di Luna, "Where hast thou taken him?" she screamed, tearing her gray hair.

"See--" and di Luna dragged her to the barred window. "See! The knife falls--look upon the sight, old fiend." She saw Manrico's head struck from his shoulders as the day dawned. With a frightful shriek she cried:

"Mother, I am avenged! Fiend! he was thy brother!" Di Luna looked first at the dying gipsy, then at the horrid scene below, and staggered back, unable to speak his brother's name. His peace was destroyed forever.

AIDA

CHARACTERS OF THE OPERA, WITH THE ORIGINAL CASTS AS PRESENTED AT THE FIRST PERFORMANCES

CAIRO MILAN

Aida Signora Pozzoni Signora Stolz Amneris Grossi Waldmann Radames Signor Mongini Signor Fancelli Amonasro Steller Pandolfini Ramphis Medini Maini The King Costa Pavoleri Messenger Bottardi Vistarini

Priests, priestesses, ministers, captains, soldiers, officials, Ethiopian slaves, prisoners, Egyptian populace, etc., etc.

The time of the story is when the Pharaohs were puissant, and the scenes are laid in the cities of Thebes and Memphis.

Composer: Giuseppe Verdi. Author: A. Ghislanzoni.

The opera was first sung at Cairo, Egypt, December 27, 1871; at Milan, February 8, 1872.