In the music we also find other clues as to the type of singer suitable for the role of Manrico. The musical nature and accomplishment of his character is reflected, as you would expect, in his own vocal line, which is filled with various embellishments, specific rhythmic features, varying dynamic effects and even trills. Even though such musical features can be found in other Verdi tenor roles, the abundance of them in the role of Manrico highlights, even more so, the need for a technically proficient singer so as to make the association with his own character plausible.

We are also fortunate enough to have a more direct clue as to the sound and affect of Manrico’s singing. It is not often that the composer gives us an idea of what the protagonist should sound like, yet Verdi clearly shows this in the second aria of the whole work. Despite the fact that this is not even sung by him, “Tacea la notte” is a description of Manrico’s serenading and the subsequent feelings it evoked in Leonora. It is one of the most beautiful and serene arias in all opera, and these characteristics are surely meant to reflect the beauty and romanticism of his serenading. In short, Manrico’s singing needs to be attractive, so as to evoke the feelings of love and attraction in Leonora. She is drawn in particular to his voice and the words he sings, and seemingly less so to his exploits on the battlefield (though she does mention that it was at the tournament that she first saw him). If the tenor cannot manage this lyricism and beauty, it not only fails to establish the point of her aria and the title of the whole opera, but also makes one question the reasons behind the ensuing love triangle, which forms the subplot of the overall drama.

The relationships between Leonora, Manrico and di Luna are key to the development and enhancement of the true tragedy of the main plot (which is the quest for revenge for both di Luna and Azucena). Their various encounters with each other also act as catalysts to the exposition of the main plot. Azucena’s capture by di Luna is as a result of her searching for Manrico, who has gone to save Leonora from taking the veil. Di Luna’s rage over his rival is further fuelled when he discovers that Manrico is the son of his brother’s killer. The double execution of mother and son would truly avenge his father, though as we find out, it is actually Manrico’s death at the hands of his true brother that completes and exacerbates the tragedy of di Luna. The whole cohesion of the operatic drama is at risk if we cannot believe in the characters and the situations that are being portrayed. We need to believe why Leonora falls for Manrico and not for di Luna, and for this we need to see a contrast between the two male characters. We also need to realise the extent of Manrico’s devotion to Leonora so as to understand why he must rescue her from the veil, and leave his mother, who subsequently searches for him and gets caught. If the subplot fails to make sense, due to a lack of character portrayal, the affect will be felt on the rest of the drama, and will hence reduce “Il Trovatore” to being simply an opera with a bizarre story, but great music.

With regards the contrast between Manrico and di Luna, we recognise that Leonora does not fall for the protestations of di Luna, who incidentally seems a worthy suitor, as Commander of the King’s guard. Instead she falls for a wondering minstrel, who, although being a soldier and courageous Knight, has other endearing qualities that attract her. As a troubadour, we know that he will sing melancholy songs if he cannot be with the one whom he loves (“Deserto sulla terra” etc.). If di Luna cannot have the women of his dreams, he resorts to kidnapping them or bargaining another’s life in return for his prize. Despite the fact that he sings the beautiful aria about Leonora in the second act (“il balen del suo sorriso”), we need to remember that he is speaking such words whilst on the brink of forcibly abducting her. One final point, although being slightly more tentative is that Manrico and di Luna are brothers, and hence may look similar to each other, leading one to suppose that Leonora’s dislike of di Luna is based on something other than his physical attributes.