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By the time that Manrico has saved Leonora from becoming a nun in what is visually the most striking set of the performance, with decorative railings separating sacred and profane, while a superincumbent cross gives the sisters all the spiritual backing they need, he and the Count are engaged in opposing warfare. Verdi endows the Count's soldiery with outstanding musical valour [listen -- DVD2 Act III, 'Sqilli, echeggi la tromba']. The result is capture of Azucena, and the worsting of Manrico in his attempt to rescue her.

Misfortune incites Azucena to yet more manic flights of wrath, so that she becomes an incandescent Fury of destruction [listen -- DVD2 Act III, 'Giorni poveri vivea -- Tua prole, o turpe zingara']. If Verdi's greatest tragic opera was the Manzoni Requiem, he is never happier in the stage works than when conjuring up some aspect of ecclesiastical life. A tolling bell, chanting monk or kneeling nun had an irresistible appeal to this distinguished apostate of the Roman church. Manrico is now a prisoner in a tower of the Count's palace, and some convenient monks have assembled to crave mercy on the souls of those about to die.

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