At the start of Act III, the men are di Luna soldiers again. The men then become di Luna soldiers while the women become nuns. In Act II they are gypsies in the first scene. It begins as soldiers of di Luna in Act I. The chorus in Trovatore is also complicated. Her character turns the traditional love triangle of Leonora, Count di Luna, and Manrico into an unequal rhomboid. Of all the characters, Azucena’s story is the most central. Manrico is officially the title character, but his storyline is not preeminent throughout. There is a dramatic balance amongst the characters. When it comes to Il Trovatore, four accomplished singers are required. In Traviata, the chorus starts at a party and ends at a party. In Rigoletto, the chorus is a group of courtiers from start to finish. Neither show requires a costume change for the chorus. If the Violetta is a seasoned singer, Traviata works even if the Alfredo and Germont are merely serviceable. There are 10,000 sopranos who can sing Gilda. If the Rigoletto is an accomplished pro, the show works.
Rigoletto and Traviata both require two competent singers and one accomplished singer. Its scale makes it difficult to produce effectively. The problems with Trovatore are the same as its merits. The fourth act of Trovatore is one of Verdi’s greatest accomplishments in terms of atmosphere and dramatically effective vocal writing. The scale of Trovatore is much greater than either of its siblings. In some ways, we prefer it to both Rigoletto and Traviata.
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