History of creation
After Verdi had staged 'Rigoletto', he returned to Busseto in 1850 with the aim to start working upon a new opera, 'Il trovatore'. Drama of the same title, on the basis of which the synopsis of the opera was created, has been the first serious charge of the Spanish Dramaturge Antonio Garcia Gutierrez. The romantic drama 'Il trovatore' was staged in Madrid in 1836. The drama fascinated Verdi with its revolutionary soul, boldness, acute scenic passages, all of which where so familiar to the composer himself. In order to create the synopsis Verdi has renewed his correspondence with Salvatore Camarano, with whom he had active creative links in the past. The composer wasn't satisfied by the first variant of the plot as he believed that it was better to refuse the plot at all unless it is possible to realize it on the opera stage. On the 9th April 1851 Verdi wrote: 'I think several scenes lack the force of the primary influence and originality, and, first of all, Azucena has lost her exceptional charm'. Verdi has started writing libretto of the opera himself and has written very detailed instructions to the important episodes of the opera, on the basis of which Camarano has continued his work. The joint work of the composer and the librettist has lasted for a long time. This fact was conditioned by various subjective and objective causes, too: on the 13th June 1851 the composer's mother, Luija Utini Verdi passed away and Verdi ceased at all working upon the opera. The composer was suppresses also by the regime of the political reaction in the country after the revolution, which was followed by a wave of arrests and repressions. Censorship became more strict, which directly touched Verdi's finished opera 'Rigoletto' in that period. On 1st December 1851 the composer wrote the letter of the following contents to his friend, the sculptor Lukardi: 'These impresarios do not understand that if the opera is not staged entirely, as the author has plotted it, then it is better not to stage it at all. They do not know that transposition of numbers and scenes generally end in fiasco. Imagine what results when the plot itself is changed... What should you say if the face of one of your beautiful statues were covered by a black mask?!' Despite Verdi's efforts 'Rigoletto' was staged in Rome in 1852 in a very altered form because of the demands of censorship. It was very hard for the composer to bear. He has spent several months in Paris in 1852 and only in March did he return to the libretto. Under these conditions it was very difficult for Verdi to work upon the plot of 'Il trovatore'. In this period the composer has experienced another misfortune: Camarano, having not yet finished the libretto, died. On the 5th August 1852 Verdi wrote to the admirer of his music, a friend of Camarano's, 'I cannot express my grief. I was informed of his death not from a friendly letter, but from an insensate theatrical newspaper. You loved him like I did and you will understand the part which I wasn't able to express, poor Camarano, what a great loss...' Libretto was finished by a young poet, Bardaret and only in autumn of 1852 Verdi has started working upon the opera itself, which he has finished in just several months. The premiere of the opera was staged in the Apollo Theatre in Rome on the 19th January 1853. In those days the river Tiber has flooded roads to the theatre, though there was such a great desire to see and listen to Verdi's new opera that the crowd of people has rushed to the gates of the theatre since nine o'clock in the morning. Premiere of the opera has been utterly successful. During his work upon the opera, after having suffered many dramatic and tragic events Verdi has sent a very pessimistic letter to one of his friends on 29th January 1853: '... people say that the opera is very morose and many heroes die in it, but, at last, the life is, too, full of death, isn't it?!.' Very soon the opera was staged in Paris, London, St. Petersburg and other cities of Europe. 

Il Trovatore – Synopsis

Part One

Civil War is raging throughout Spain. A group of Nationalist soldiers is on night duty, guarding the palace where Leonora resides.  She is the intended of their General, Count di Luna.  They talk about him and entertain each other with macabre story telling. Ferrando, their senior officer, remembers the night that the infant brother of di Luna's was threatened by an old woman, and how she was then burned at the stake as a witch.  From the flames old woman had screamed to her daughter to avenge her death, and shortly afterwards Di Luna's brother had disappeared. Although years ago, Ferrando says he will never forget the woman's face.
Outside the palace grounds Leonora explains to her companion Inez that she has fallen in love with and come to meet a singer, Manrico. This meeting is interrupted by di Luna. He realises that his rival for Leonora's love is also a leader of the civil war and the two men fight.
A group of Republican fighters is lead by a woman, Azucena. As she tends Manrico's wound we discover that he could have killed di Luna in the fight but decided to spare him. Azucena tells the same story as Ferrando in the first scene, that she kidnapped the young Count di Luna's brother in revenge. We learn it was her mother who was burned at the stake and that in the confusion that night, her own baby had been thrown on the fire, a tragedy she still lives with. Word comes that Leonora has decided to escape the conflict, believing that Manrico died in the fight with di Luna. Manrico rushes off to stop her.
Count di Luna also believes Manrico to be dead and plans to kidnap Leonora to force her to stay with him. As he attempts to do so, Manrico and his men appear. They overwhelm di Luna'soldiers and escape with Leonora.

Part Two

The Count's troops prepare to attack the building where Leonora and Manrico are now staying. Azucena is arrested and brought in and immediately recognised by Ferrando as the woman who kidnapped the Count's brother.  Di Luna plans the same fate for her as her mother.
Manrico and Leonora plan to marry in haste, but Ruiz brings news that Azucena is captured. As the  flames can be seen preparing for Azucena's execution, Manrico and his fighters rush off to save  her.

Part Three

Count di Luna has captured Manrico, and Leonora offers herself to the Count in exchange for Manrico's life. When he agrees she poisons herself.  Meanwhile in the prison, Manrico and Azucena comfort each other.

Leonora arrives to free Manrico, who is angry to think she should 'sell herself' to release him. As the poison takes effect he realises the sacrifice she has made.  In the closing seconds, di Luna realises what Leonora has done and orders Manrico's immediate execution.

As Azucena watches Manrico die she screams to di Luna, "You have killed your brother".

Vernon Mound

Vernon is currently Head of Music Theatre for the Gothenburg University where he was in 1996 made Professor, having directed several opera and musical performances there.  Now he is in charge of the education of 20 students and their productions.
He is also a freelance director of both opera and musicals with a varied international career from Australia to Russia and Europe. In 2006 his freelance work takes him from Tbilisi where he will stage ILTROVATORE to GIANNI SCHICCI in Umbria and SWEENEY TODD in Sweden's Karlstad.
Examples of his work includes highly successful major productions of LES MISERABLES and MISS SAIGON all over Scandinavia. For the Norwegian National Opera, ANDREA CHENIER and HANSEL AND GRETEL. For the Gothenburg Opera he directed MANON LESCAUT. In Kazan he directed Bizet's PEARL FISHERS.
Vernon started his career with a Batchelor of Music degree from London University as a pianist and singer. He went on to work for most of the UK opera companies in various jobs from company manager for The Scottish Ballet to resident director for The Royal Opera House, Covent Garden.
His work in vocational training has taken him to many similar establishments all over Scandinavia and Europe. He was previously head of drama at the Royal College of Music in London.
In 2004 he created, and is Artistic Director of MUSIC THEATRE FOR YOUTH, Ireland's only national organization providing such training. The company is now thriving with Arts Council support.
Currently his productions of EVITA in Darmstadt and PEARL FISHERS in the Netherlands are being performed regularly.

CHRIS deWILDE

Chris has worked with Vernon Mound on several productions, including Nine in Malmo, Sweden, and Such Sweet Thunder and The Late Sleepers - two new musicals at Newcastle Theatre Royal.  Later this year they will collaborate on Sweeney Todd in Karlstad, Sweden.
Recent designs in Britain include Cyberjam (Queen's Theatre) and Nixon's Nixon (Comedy Theatre) in London's West End, Straker Sings Brel (King's Head), Love, Lust and Loss (Battersea Arts Centre), Queer Counsel (Croydon Warehouse and tour), Ceremony of Carols/Winter Words (Streetwise Opera at New College Chapel, Oxford), a retelling of the story of The Magic Flute for children, and five showcase productions for the annual Musical Voices season at Greenwich Theatre in London.  Previous designs include a production of Crazy For You with a cast of 250 in which 60 chorus girls emerged from a limousine, and a full scale production of The Cunning Little Vixen in a barn in the English countryside.
Chris previously worked for many years as a Production Manager in Britain, overseeing a wide variety of productions including 8 major shows in the West End, 17 national tours, 34 productions for the Royal Shakespeare Company and three seasons for Almeida Opera.