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Il Trovatore (Vpo, Karajan) [European Import] Import


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Il Trovatore (Vpo, Karajan) [European Import] + Verdi: Il Trovatore [Recorded 1952]
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Product details

  • Orchestra: Vienna Philharmonic Orchestra
  • Conductor: Herbert von Karajan
  • Composer: Giuseppe Verdi
  • Audio CD (15 Jun 1998)
  • SPARS Code: ADD
  • Number of Discs: 2
  • Format: Import
  • Label: Deutsche Grammophon
  • ASIN: B0000012WQ
  • Other Editions: MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 138,285 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         


Disc 1:

Samples
Song TitleArtist Time Price
Listen  1. Verdi: Il Trovatore / Act 1 - "All'erta! all'erta!"Nicola Zaccaria 2:43£0.79  Buy MP3 
Listen  2. Verdi: Il Trovatore / Act 1 - "Di due figli vivea padre beato - Abbietta zingara" / Sull'orlo dei tetti (Ferrando, Coro)Nicola Zaccaria 7:24£0.79  Buy MP3 
Listen  3. Verdi: Il Trovatore / Act 1 - "Che più t'arresti?"Laurence Dutoit 2:13£0.79  Buy MP3 
Listen  4. Verdi: Il Trovatore / Act 1 - "Tacea la notte placida" -"Di tale amor"Leontyne Price 6:52£0.79  Buy MP3 
Listen  5. Verdi: Il Trovatore / Act 1 - "Tacea la notte!"Ettore Bastianini 1:53£0.39  Buy MP3 
Listen  6. Verdi: Il Trovatore / Act 1 - "Deserto sulla terra"Franco Corelli 5:59£0.79  Buy MP3 
Listen  7. Verdi: Il Trovatore / Act 2 - "Vedi! le fosche notturne spoglie" (Anvil Chorus)Wiener Philharmoniker 2:54£0.79  Buy MP3 
Listen  8. Verdi: Il Trovatore / Act 2 - "Stride la vampa!"Giulietta Simionato 4:41£0.79  Buy MP3 
Listen  9. Verdi: Il Trovatore / Act 2 - "Soli or siamo"..."Condotta ell'era in ceppi"Franco Corelli 5:44£0.79  Buy MP3 
Listen10. Verdi: Il Trovatore / Act 2 - "Non son tuo figlio?"/ "Mal reggendo all'aspro asalto"Franco Corelli 5:34£0.79  Buy MP3 
Listen11. Verdi: Il Trovatore / Act 2 - "L'usato messo Ruiz invia"Franco Corelli 4:12£0.79  Buy MP3 
Listen12. Verdi: Il Trovatore / Act 2 - "Tutto è deserto"Ettore Bastianini 1:29£0.39  Buy MP3 
Listen13. Verdi: Il Trovatore / Act 2 - "Il balen del suo sorriso"Ettore Bastianini 3:19£0.79  Buy MP3 
Listen14. Verdi: Il Trovatore / Act 2 - "Qual suono! Oh ciel!" - "Ah! se l'error t'ingombra"Ettore Bastianini 4:40£0.79  Buy MP3 
Listen15. Verdi: Il Trovatore / Act 2 - "Perchè piangete?"Leontyne Price 2:25£0.79  Buy MP3 
Listen16. Verdi: Il Trovatore / Act 2 - "E deggio e posso crederlo?"Leontyne Price 5:10£0.79  Buy MP3 


Disc 2:

Samples
Song TitleArtist Time Price
Listen  1. Verdi: Il Trovatore / Act 3 - "Or co' dadi" - "Squilli, echeggi la tromba"Nicola Zaccaria 4:11£0.79  Buy MP3 
Listen  2. Verdi: Il Trovatore / Act 3 - In braccio al mio rival!Ettore Bastianini 2:01£0.79  Buy MP3 
Listen  3. Verdi: Il Trovatore / Act 3 - "Giorni poveri vivea"Giulietta Simionato 5:30£0.79  Buy MP3 
Listen  4. Verdi: Il Trovatore / Act 3 - "Quale d'armi fragor"Leontyne Price 2:11£0.79  Buy MP3 
Listen  5. Verdi: Il Trovatore / Act 3 - "Ah sì ben mio"Franco Corelli 4:07£0.79  Buy MP3 
Listen  6. Verdi: Il Trovatore / Act 3 - L'onda de' suoni misticiLeontyne Price 1:33£0.39  Buy MP3 
Listen  7. Verdi: Il Trovatore / Act 3 - "Di quella pira"Franco Corelli 2:28£0.79  Buy MP3 
Listen  8. Verdi: Il Trovatore / Act 4 - "Siam giunti: ecco la torre"Siegfried Rudolf Frese 3:00£0.79  Buy MP3 
Listen  9. Verdi: Il Trovatore / Act 4 - "D'amor sull'ali rosee"Leontyne Price 4:46£0.79  Buy MP3 
Listen10. Verdi: Il Trovatore / Act 4 - "Misere" / "Ah! che la morte ognora"Leontyne Price 4:45£0.79  Buy MP3 
Listen11. Verdi: Il Trovatore / Act 4 - Udiste? Come albeggiEttore Bastianini 4:56£0.79  Buy MP3 
Listen12. Verdi: Il Trovatore / Act 4 - "Vivrà!...contende il giubilo"Leontyne Price 2:40£0.79  Buy MP3 
Listen13. Verdi: Il Trovatore / Act 4 - "Madre, non dormi?"Franco Corelli 5:48£0.79  Buy MP3 
Listen14. Verdi: Il Trovatore / Act 4 - "Si, la stanchezza m'opprime, o figlio" - "Ai nostri monti"Giulietta Simionato 3:34£0.79  Buy MP3 
Listen15. Verdi: Il Trovatore / Act 4 - "Che! Non m'inganno! Quel fioco lume..."Franco Corelli 4:12£0.79  Buy MP3 
Listen16. Verdi: Il Trovatore / Act 4 - "Ti scosta!" - "Non respingermi" (Manrico, Leonora, Il Conte, Azucena)Franco Corelli 5:37£0.79  Buy MP3 

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3 of 3 people found the following review helpful By Tenor Photo on 16 Jun 2011
Format: Audio CD
Having listened to just about every recording of Il Trovatore available during the last 50 years this recording comes as close to perfection as one can get. It is powerful, exciting and full of spine tingling moments. The fact that it is live adds a dimension of realism to it that is simply not in studio recordings. This is the dream team in every respect, with all the singers at the peak of their games turning in performances that testify to their magnificent careers. We do not hear this sort of singing any more, opera stars of today can't hold a candle to these demi-gods of yesteryear.
I am thrilled to have this recording in my library along with another 11 recordings of this opera - this set is by far my favourite!
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11 of 13 people found the following review helpful By Plaza Marcelino on 2 Oct 2006
Format: Audio CD
This performance has been in and out of the catalogues for the past 40 years, mostly from unauthorised, irregular or downright pirate sources, both in LP and CD, with sound quality levels that ranged from AM radio-type (as if taken from an air check) to fairly good. Now we have from DG the original ORF (the Austrian Broadcating Corp.) master tape and the gain in clarity and immediacy is significant, so much so as to amply justify the price differential (which is no great thing either as the set is mid-priced).

Forty years ago Karajan had established himself as Europe's "generalmusikdiktator" and assembled for this Salzburg Festival performance a starry cast quite tough to better, then as perhaps even now, effectively gathering the day's leading exponents of the roles. You would have quite hard a time then trying to find a tenor better suited than Franco Corelli to sing the part of Manrico, la Simionato would spring to anyone's mind as the logical choice for Azucena, and Bastianini sung the Count so well he could hardly be surpassed, even by Gobbi. Karajan's rapport with Leontyne Price was special, as John Culshaw wrote in his memoirs ("Putting the Record Straight", left unfinished by his untimely death but none the less published soon thereafter), and it shows throughout. Her spinto voice projects Leonore most effectively, in spite of her less-than-perfect italian diction, a head-on competitor to the then leading exponents of the part, la Callas or, specially, la Tebaldi.
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By SusanneBat on 2 Jun 2014
Format: Audio CD Verified Purchase
Great CD in good condition and prompt delivery. Very dramatic performance. Corelli and Price are both amazing. Other singers are good as well
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1 of 2 people found the following review helpful By Trev-R TOP 100 REVIEWER on 17 Mar 2012
Format: Audio CD Verified Purchase
This CD set is reasonably priced for what is an excellent recording. The set comes with a booklet about the recording and a separate libretto making it even better value. The recording is in mono but that doesn't really detract from the pleasure of listening to it. Considering that the recording is now 50 years old and a live recording then it stands up very well against other recordings of the period. There is some hiss but so little that it does not detract from the recording itself.

Herbert Von Karajan directs a group of the finest singers available at the time (or any time ever in the history of opera) Franco Corelli as Manrico, Giulietta Simionato as Azucena, Leontyne Price as Leonora and Ettore Bastianini as Il Conte di Luna. The quality could not be repeated by any assembled cast today.

Enrico Caruso once said that all it takes for successful performance of Il trovatore is the four greatest singers in the world; this recording is what he meant.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 14 reviews
41 of 46 people found the following review helpful
Golden Trovatore. 22 Dec 2004
By Plaza Marcelino - Published on Amazon.com
Format: Audio CD Verified Purchase
This performance has been in and out of the catalogues for the past 40 years, mostly from unauthorised, irregular or downright pirate sources, both in LP and CD, with sound quality levels that ranged from AM radio-type (as if taken from an air check) to fairly good. Now we have from DG the original ORF (the Austrian Broadcating Corp.) master tape and the gain in clarity and immediacy is significant, so much so as to amply justify the price differential (which is no great thing either as the set is mid-priced).

Forty years ago Karajan had established himself as Europe's "generalmusikdiktator" and assembled for this Salzburg Festival performance a starry cast quite tough to better, then as perhaps even now, effectively gathering the day's leading exponents of the roles. You would have quite hard a time then trying to find a tenor better suited than Franco Corelli to sing the part of Manrico, la Simionato would spring to anyone's mind as the logical choice for Azucena, and Bastianini sung the Count so well he could hardly be surpassed, even by Gobbi. Karajan's rapport with Leontyne Price was special, as John Culshaw wrote in his memoirs ("Putting the Record Straight", left unfinished by his untimely death but none the less published soon thereafter), and it shows throughout. Her spinto voice projects Leonore most effectively, in spite of her less-than-perfect italian diction, a head-on competitor to the then leading exponents of the part, la Callas or, specially, la Tebaldi. Culshaw also recounts Bastianini's fall from grace with Karajan whilst recording Otello in Vienna for Decca in 1962 and how he got Decca to sack him and replace him with Aldo Protti; the loss is posterity's, no doubt, but if differences between the two were already present by the time this Trovatore was staged, they don't show at all.

Karajan was a most intelligent operatic conductor, not just in the recording studio but in the theatre as well (and you'll be surprised to learn how often one does not necessarily imply the other), with a keen sense to find the tempo that was right for each particular singer and episode within a work (yet why in this particular ocasion he allowed Corelli to croon his way out of "Ah si ben mio" and at so slow a tempo is beyond comprehension), which translates into a general sense of urgency throughout this Trovatore, stressing as few other conductors the score's inner drammatic tensions. By 1962 he had behind him a solid commercial recording of "Il Trovatore", made in Milan for EMI some six years earlier with La Scala forces and an altogether different cast (Callas, Di Stefano, Panerai and Barbieri in the leading roles) that had gathered laudatory remarks from critics the world over, and later on would still return to the work more than once, for both the stereo mikes and video, for no doubt Il Trovatore was a score special to him. This 1962 Salzburg recording being live, there are of course some imprecisions here and there, vocal perspectives tend to shift when stage movement brings a particular singer to face away from the microphone, there are stage noises, applause and slight miscues between orchestra players and singers which no doubt Karajan would have corrected had this been a regular, commercial studio project (but again, very likely at the price of spontaneity and frisson). But this is a Trovatore to treasure, a performance that amply demonstrates the success of a project in which an inspired conductor and a group accomplished and well cast singers can achieve. No matter how many Trovatore's you may own, add this one to your collection, you will not be disappointed.
23 of 25 people found the following review helpful
Stunning 8 Jun 2003
By A Customer - Published on Amazon.com
Format: Audio CD
This Trovatore is the same as the one by Gala on Amazon that attracted a lot of reviewers. I reproduce my review here. I actually have this version, not the Gala version. I can't say anything about the sound quality in the Gala version. But the sound quality on this recording is very good. Although it is mono, the transfer is done superbly so that everything is very clear. A good 'benchmark' would be the EMI Great Recording of the Century Beethoven 9th by Furtwangler. The sound quality is about that level.
Many reviewers have praised this recording. I join their praise. This recording is an undisputed classic like the Klemperer Fidelio with EMI featuring Christa Ludwig and Jon Vickers. Have you ever asked yourself what is the hallmark of a great recording? Well, there are many ways to characterize a great recording.
But here's an extremely good acid test. When you have a whole bunch of operas in excellent stereo sound (some of them excellent digital stereo sound) and some of them studio recorded to perfection (not a flaw in the note or intonation) but YET you prefer to listen to a MONO ANALOGUE such as this Il Trovatore. Now THAT'S what I call the HALLMARK OF A GREAT RECORDING.
This is precisely my experience with this Il Trovatore. I actually bought this Il Trovatore by 'mistake'. I've heard about Karajan's famous 1962 Salzburg recording. So when I found it, I decided to buy it. The reason I say it was a mistake because I thought that this was in stereo (afterall it's a 1962 recording and most recordings then were made with stereophonic technique). So when I realized that it was a MONO recording, I was intially disgusted because I dislike mono recording in general. But I decided to listen and I blown away by the power of the performance. Yes, this performance is white hot with intensity of epic nuclear proportions. This performance is in that class of superb opera recordings. It is a superbly inspired interpretation and the singers sing with tremendous intensity as if their lives depended on it. I actually prefer this MONO opera recording to many of my stereo opera recordings!!!
Just a little history, in the immediate post world war era, I would say around 1950 - 1970, the world's greatest opera singers used to be concentrated in the opera houses of Europe. That was before the era of today's jet-setting opera singers. In those days, opera singers labored for weeks and weeks in rehearsals before the performances. And they worked together in ONE place as a team. Today, opera singers get 'star' treatment. but sad to say, opera singers today are not so commited to their craft. Yes, they are good, I don't deny that. But compared to the opera singers of yore, they are below par.
In this set, Corelli sings with searing intensity. His voice comes out like an atomic bomb. Pavarotti and Domingo don't even come near. Yes, Pavarotti and Domingo are excellent singers, I don't deny that. I am a great fan of Pavarotti and Domingo and I have their recordings. What I am just saying is that Corelli in this recording wins them hands down. Leontyne Price is in peak form. I always thought that Price was fantastic. But never did I expect to be blown away by her singing here. Her singing here is far far better than any of the studio recordings I've heard from her. White hot inspiration, blazing heat. You have to listen to believe it. When you hear her down here, you'll realize that you've never known the real Leontyne Price. The same goes with Simionato and Bastianini. They are superbly inspired.
Here are 4 of the greatest singers in the world giving the performance of a lifetime. And to the person who thought of releasing these performances from the archives to the public, I couldn't thank them enough. You will not regret this purchase, at a great bargain price too. The greatest regret (or should I say that competitors should be thankful) is that Austrian Radio did not record this in Stereo, for if they did, all the other Trovatores will probably go out of business.
Yes, all you competitors out there. As things stand, this is already one of the best-selling Trovatores on Amazon.com.Be glad that this wasn't recorded in Stereo. Otherwise, you would have to close shop.
15 of 17 people found the following review helpful
Electrifying! 5 Dec 2003
By A Customer - Published on Amazon.com
Format: Audio CD
I echo all the positive statements made in the other reviews. What I really like about this recording is the live aspect. We have had recordings by all these artist for decades (as all of them are now retired). The studio recordings each made were fabulous, but nothing really exeptional when it comes to really exciting the soul. What then is the difference here? It is the sound, the singing, the emotions, and the intensity of the live performance. I venture to say that none of these singers were well served in the studio. Yes, they made super wonderful recordings, and we are thrilled they did, but that special something that each of them had in live performance just didn't come across.
Corelli, whose musicianship is usually sloppy is so electrifying here. His clarion tones, and they do ring out and give goose bumps, just make the role. Price is so riviting, and has an energy one doesn't find in her studio recordings. I doubt it was because she sang in an uninvolved way in them, but rather her voice was probably too powerful for the recording equipment. By the way, this is not the only "live version" of this opera with her in it. There is another released by Allegro recordings. This one is by far superior in sound quality to that one, but both have some super fine singing from her and the other singers.
Simionato is well, perfect as Azucena. I really doubt she had any serious competition while she was singing. She has a way of electrifying everything she sings, and she has good musicality and technique. The high C in the Duet between her and Manrico is not there, as was the custom of the time, but it was not because it was beyond her ability or range. I always found her studio recordings sort of a mystery. I enjoyed the voice but couldn't really see much special about it. The thing that capture everyone just wasn't there, though her interpretations did rivit you as far as characterizations were concerned. With this live recording it is easy to see what was there and what captured the hearts of all those who saw her.
These were singers who really put out. Their tone was full, strong, powerful, riviting, focused, and cutting (not in a shrill way, but in a way that gives complete presence to the voice). Their intensity in performance is a miracle. It is amazing that any of them sang that long, or so it seems, with what they gave of their talents (now mind you, there is no forcing, shoving, pushing, or etc of the voice; instead the voice is used wisely and properly; maybe that is why they could give out so much, they knew how to do it right). Each of them had a very long career. The standard of performance is also unbelievable. There may be flaws, there always is in any live performance, but those flaws pale compared to the whole, and the whole really takes your breath away.
13 of 16 people found the following review helpful
Was there ever a more exciting night at Salzburg? 26 Nov 2006
By The Cultural Observer - Published on Amazon.com
Format: Audio CD
Herbert von Karajan was a conductor who made a specialty out of Il Trovatore, and that influence can be seen directly in his handling of the score with De Sabata's orchestra six years earlier. Here, with six years trailing that magnificent recording, we find Karajan in demented form, carressing Verdi's score with passion, pathos, lyricism, and beauty, and driving the Vienna forces with that unique verve which made his Verdi so unique. I believe this is the best recording of Il Trovatore, despite the recording flaws, and with the magnificent cast, it is not easy to see why Deutsche Grammophon coerced the Austrian Broadcasting company to give them the master tapes of this performance. Everything in this performance--the cast, conductor, chorus, and the orchestra--all worked to make this broadcast special, albeit the less-than-ideal sound.

This recording brought Leontyne Price's Leonora to the Salzburg stage, a contribution that was in many ways the ideal combination of vocal beauty, drama, and Verdian sensitivity. Although Price is a lesser Leonora than Maria Callas, she performs very well on this recording, revealing much of Leonora's distress and pathos over Manrico's predicaments. I have never heard a more beautiful Tacea la notte or D'Amor sull'Rosee sung in all the Trovatores I've heard, and she adds a few high notes of her own in bits of the score. A wonderful performance. It was no doubt that Karajan would say that he got goosebumps when he heard her sing.

Corelli is Manrico. He may not have the beautiful legato of Carlo Bergonzi or the smooth discipline of Placido Domingo, but what a Manrico! You could hear a true gyspy in this performer, and he sings with such macho verve that it would be no doubt that Leonora would fall in love with this one tenor. A performance to keep for the ages!

Simionato is Azucena. With Stignani, Cossotto, and Barbieri, Simionato joined these great mezzos in the tier of Azucenas who make this role the center of the opera. She is perhaps the most insightful and powerful mezzo to take the role, and the runs simply pose no problems for her. She is the definitive Azucena, along with today's Dolora Zajick.

Ettore Bastianini is di Luna. Need I say more about this Verdian baritone except that he is excellent in every sense of the word? Bravo!

With Karajan on the podium in demented form, and a cast that matches his pacing word for word, this is probably my Trovatore of choice.
18 of 23 people found the following review helpful
A riveting live performance 3 April 2005
By Charlus - Published on Amazon.com
Format: Audio CD
Corelli is quite overwhelming. He is in truly brilliant voice, and sings with great feeling and brio. The duos are all dead-on, and the aria Ah si, ben mio is sung with a longing and melancholia that are quite memorable. Reminds me of Pertile at his best, though Franco, of course, had basically a much finer voice.

As usual, rhythm is the weakest element in Corelli's performance, but Herbert von Karajan, master of rubato, stays with him almost preternaturally, providing a cushion of musical continuity that is like a masterclass in opera conducting. The aria thus becomes an unusual marriage of Italian feeling and Austrian grandeur: quite a performance! (And how the Vienna Philharmonic breathe with von K !!)

The Pira is the one instance when HvK decides not to accomodate: he wants to go very fast, martial style. Franco wants to go considerably slower, and the two are never once together, except in the first High C, which seems to last forever. In the choral/orchestral coda, Karajan forges ahead, as if to say: "I'll show you!". But, at such speed, chorus and orchestra fall apart (the very loud trumpets and percussion end up in different counties!) and then Franco comes in for the kill with a second High C that has to be heard to be believed!! It does last forever! Live!

Part of Corelli's rhythmic issues have to do with von Karajan's love for many different and contrasting speeds. This is absolutely idiomatic in an opera like Trovatore, but not every singer can keep up with that.

One who sure can is Giulietta Simionato, the Azucena. Whatever von K throws her way, she can handle: she is like a mad dog. Every syllable, every word, every phrase is "burnt in" with a volcanic power and a supreme self-assurance that I have not heard in any other Azucena. No matter how slow a waltz-rhythm, she never runs out of breath or steam. If fast, she eats it up. Loud? She is like Vesuvius. Soft? Just listen to the ending of the Condotta ell' era in ceppi, when she seems to be humming from inside her skull, as in a vision.

My favourite moment is the finale of the first scene of act III. Giorni poveri vivea. K sets a slow, weary movement to the initial arioso for Azucena, which Simionato handles with a dark, mournful colour and seemingly endless supplies of breath. Then K goes as fast as the wind into the stretta, and old Giulietta digs into it like a starved greyhound, taking, but of course, all the high options. Brava, diva! Karajan had found his match.
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