Il Trovatore's story may be convoluted, but it also has one of Verdi's most melodically rich scores and the music is some of his best. This production is uneven but decent, better than the strange Carsen-directed Bregenz production but the Del Monaco(with Gencer, Bastianini and Barbieri) and Karajan performances are ones I much prefer(the Pavarotti Met one for me is also better than it's given credit for).
There is a lot to like. The chorus are superb in the joyous Anvil chorus and the goose-bump-inducing Miserere(where the staging does get better), as well as in the third act where they have a prominent role. The orchestra have lots of energy and play beautifully,- loved the incisiveness of the Anvil chorus- though they don't quite overcome the tendency to play too loud. Thankfully though they do reign in for the Act 4 beginning, which needs an understated touch. The conducting is clear, has authority and good phrasing, allowing the depth of the score to come through even if the blending is an issue. Leo Nucci does sound tired at times(though his rendition of Il Balen was good), but cuts a commanding and menacing figure on stage from Act 2 onwards as Di Luna. Bernadette Lucarini is a solid Ines, and proves a touching confidante to Theodossiou's Leonora. The best asset about the production is Dimitra Theodossiou's Leonora, her passionate and heartfelt interpretation makes her the best actress on stage in this production and for such a big voice she handles the colouratura and Spinto elements of the role with agility and power, complete with smooth legato and beautiful soft singing. Her D'Amor Sull'Alli Rosee is wonderful, the best rendition on DVD I've heard of that killer aria since Raina Kabaivanska for Karajan.
Some things don't work though. Miroslav Dvorsky has a lovely strong voice, good musicianship and high notes of admirable clarity, but he has little of the heroism and passion for Manrico. Di Quella Pira is well-sung but that's it. Andrea Papi's Ferrando is underpowered and stolid, I wasn't engrossed enough to want to listen to Ferrando's dark tale, but I knew I had to to watch the production and fairly. The Azucena of Mariana Pentcheva was the most disappointing sadly, a shame because I've liked a number of other performances she's done. She is a little better in Act 3 and her bottom notes are good, but her Stride La Vampe is undermined by sloppy style and pitching(mostly flat) problems, and the rest of the performance sees unsteady tone, squally high notes and legato lines that aren't smooth enough. Pentcheva has shown some good acting before, but she seemed rather bland and soft for a vengeful gypsy. The lighting is rather dark, making the action difficult to see properly sometimes, the staging is static rather than compelling(excepting the chorus, Theodossiou and to a lesser extent Nucci) - Di Geloso Amor Sprezzato had some very wooden-looking conflict which ruined the thrilling intensity of that trio completely-, and the sets are unattractively sparse.
All in all, a decent production helped by the chorus and Theodossiou but the unappealing visuals and disappointing Azucena make it also an uneven one. 6/10 Bethany Cox
There is a lot to like. The chorus are superb in the joyous Anvil chorus and the goose-bump-inducing Miserere(where the staging does get better), as well as in the third act where they have a prominent role. The orchestra have lots of energy and play beautifully,- loved the incisiveness of the Anvil chorus- though they don't quite overcome the tendency to play too loud. Thankfully though they do reign in for the Act 4 beginning, which needs an understated touch. The conducting is clear, has authority and good phrasing, allowing the depth of the score to come through even if the blending is an issue. Leo Nucci does sound tired at times(though his rendition of Il Balen was good), but cuts a commanding and menacing figure on stage from Act 2 onwards as Di Luna. Bernadette Lucarini is a solid Ines, and proves a touching confidante to Theodossiou's Leonora. The best asset about the production is Dimitra Theodossiou's Leonora, her passionate and heartfelt interpretation makes her the best actress on stage in this production and for such a big voice she handles the colouratura and Spinto elements of the role with agility and power, complete with smooth legato and beautiful soft singing. Her D'Amor Sull'Alli Rosee is wonderful, the best rendition on DVD I've heard of that killer aria since Raina Kabaivanska for Karajan.
Some things don't work though. Miroslav Dvorsky has a lovely strong voice, good musicianship and high notes of admirable clarity, but he has little of the heroism and passion for Manrico. Di Quella Pira is well-sung but that's it. Andrea Papi's Ferrando is underpowered and stolid, I wasn't engrossed enough to want to listen to Ferrando's dark tale, but I knew I had to to watch the production and fairly. The Azucena of Mariana Pentcheva was the most disappointing sadly, a shame because I've liked a number of other performances she's done. She is a little better in Act 3 and her bottom notes are good, but her Stride La Vampe is undermined by sloppy style and pitching(mostly flat) problems, and the rest of the performance sees unsteady tone, squally high notes and legato lines that aren't smooth enough. Pentcheva has shown some good acting before, but she seemed rather bland and soft for a vengeful gypsy. The lighting is rather dark, making the action difficult to see properly sometimes, the staging is static rather than compelling(excepting the chorus, Theodossiou and to a lesser extent Nucci) - Di Geloso Amor Sprezzato had some very wooden-looking conflict which ruined the thrilling intensity of that trio completely-, and the sets are unattractively sparse.
All in all, a decent production helped by the chorus and Theodossiou but the unappealing visuals and disappointing Azucena make it also an uneven one. 6/10 Bethany Cox
