Il trovatore may be famous for its melodramatic plot and unlikely mistaken identities, but surely even Verdi and Cammarano couldn’t have imagined the chaos of a performance featuring two Manricos and two Leonoras.
Rare is the revival of Il trovatore that boasts five first-rate singers, and such an occasion should be treasured. And so, at the Met last Saturday, it was.
How appropriate that the Met should present this supposedly “Jewish” opera after many in the audience had just spent twelve days immersed in the genuine article over the High Holy Days.
Come back, Big Clock! We need you more than ever!
While Russell Thomas admirably goes toe to toe with Otello (and Otello) in a thoughtful and self-aware way, the assumption feels like a work in progress if not an outright mismatch with his vocal gifts.
San Francisco Opera opened their 2018-19 Season Friday with a double bill of Italian verismo operas, Cavalleria rusticana and Pagliacci, which made a welcome return to War Memorial Opera House after 15 years.
In spite of sounding like an indelicate football injury, I Lombardi alla prima crociata was only Giuseppe Verdi’s fourth opera.
Saturday matinee’s prima Trovatore brought an exciting and compelling show to the Met’s stage in the revival of David McVicar’s dark, Goya-esque production.
At one time, the idea of a performance of La Gioconda conjured up images of over-the-top, competitive, passionate vocalism, and big personalities. As a vehicle for great singers (and especially a great protagonist), it was thrilling.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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