Il Trovatore in terms of plot is rather convoluted, but it does have Verdi's most melodically rich score and is one of his best as well. Of the productions of the opera I've seen, I haven't seen one yet that I've disliked(my least favourite was the strange 2006 Bregenz production and even that did have redeeming values), the one that stood out to me the most was the 1957 production with Del Monaco, Gencer, Bastianini and Barbieri. I found this RAI production simply wonderful. The jumpy picture quality and the fuzzy sound are left wanting, but that is the case a lot with RAI.
The costumes and sets are appropriate and quite attractive-looking, and the staging is involving and quite dramatic. Even if I did find it odd- then again it's probably just me- that Manrico and Leonora were just standing there singing in the centre while people were sword-fighting in the background at the end of Act 2. The production is just impeccable musically, with orchestral playing that is sensitive, grippingly dramatic and stylish when needed, involving and well-blended chorus singing and conducting that allows the 2+ hours to fly by without losing the score's intensity.
Carlo Bergonzi has never been the best of actors, but he makes for a virile and heroic Manrico. And he is superb vocally, the sound he makes is strong without pushing or straining- while his high notes don't ring out in the way Pavarotti's did his Di Quella Pira has all the attributes it should do- and his musicianship and phrasing are as always top-notch. Antonietta Stella is a soprano who I think deserves more credit, she is a fine Maddalena Di Coigny and Amelia(Un Ballo in Machera) and a peerless Minnie. She is most excellent as Leonora, noble in bearing and vocally creamy with acute colouratura and lovely pianissimo singing, especially in D'Amour Sull Alli Rosee.
Piero Cappuccilli's Di Luna is commanding and authoritative(if not as thrilling or powerful as Bastianini or Milnes) and his singing is that of a true Verdi baritone, Il Balen sounds great. Adriana Lazzarini is perhaps too beautiful for Azucena but more than makes up for it by her thrilling intensity and her sumptuous mezzo. And I cannot get enough of the Ferrando of Plinnio Clabassi(one of the best I've heard in this role actually), he has a very limpid and noble sound to his bass voice, almost cavernous, that hearing to the character's dark tale is something of a requirement.
Overall, a wonderful performance of a musically riveting opera. 10/10 Bethany Cox
The costumes and sets are appropriate and quite attractive-looking, and the staging is involving and quite dramatic. Even if I did find it odd- then again it's probably just me- that Manrico and Leonora were just standing there singing in the centre while people were sword-fighting in the background at the end of Act 2. The production is just impeccable musically, with orchestral playing that is sensitive, grippingly dramatic and stylish when needed, involving and well-blended chorus singing and conducting that allows the 2+ hours to fly by without losing the score's intensity.
Carlo Bergonzi has never been the best of actors, but he makes for a virile and heroic Manrico. And he is superb vocally, the sound he makes is strong without pushing or straining- while his high notes don't ring out in the way Pavarotti's did his Di Quella Pira has all the attributes it should do- and his musicianship and phrasing are as always top-notch. Antonietta Stella is a soprano who I think deserves more credit, she is a fine Maddalena Di Coigny and Amelia(Un Ballo in Machera) and a peerless Minnie. She is most excellent as Leonora, noble in bearing and vocally creamy with acute colouratura and lovely pianissimo singing, especially in D'Amour Sull Alli Rosee.
Piero Cappuccilli's Di Luna is commanding and authoritative(if not as thrilling or powerful as Bastianini or Milnes) and his singing is that of a true Verdi baritone, Il Balen sounds great. Adriana Lazzarini is perhaps too beautiful for Azucena but more than makes up for it by her thrilling intensity and her sumptuous mezzo. And I cannot get enough of the Ferrando of Plinnio Clabassi(one of the best I've heard in this role actually), he has a very limpid and noble sound to his bass voice, almost cavernous, that hearing to the character's dark tale is something of a requirement.
Overall, a wonderful performance of a musically riveting opera. 10/10 Bethany Cox
