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16 of 19 people found the following review helpful
Format:DVD
I have to say that Il Trovatore is one of my favourite Verdi Opera's, with a great mix of drama and suspense, twinned with the most unlikely of story lines! There are ample opportunities for the musicians and artists to shine, and some did in this production!
In particular, Dolora Zajick, much the best actor on the stage, gave a passionate and inspired performance as Azucena. She has a wonderfully resilient voice, and carried the role off superbly. I also enjoyed Sherrill Milnes' performance as the "evil" Count Luna. Milnes wouldn't be out of place as the baddy in one of those silent films twiddling his moustach! I found his powerful Baritone extremely convincing.
In particular, Dolora Zajick, much the best actor on the stage, gave a passionate and inspired performance as Azucena. She has a wonderfully resilient voice, and carried the role off superbly. I also enjoyed Sherrill Milnes' performance as the "evil" Count Luna. Milnes wouldn't be out of place as the baddy in one of those silent films twiddling his moustach! I found his powerful Baritone extremely convincing.
Pavarotti's voice is as agreeable as ever, but as usual his acting lets the overall performance down. He spends most of his time rooted to the spot with a perplexed look on his face! Mind you, I suppose if you've escaped death by fire at the hands of your mad gypsy mother at the age of 1, you'd look worried too!
Jeffrey Wells got better as he warmed up, but Eva Marton seemed totally out of place here with her "the louder you sing the better" approach. She was decidly flat in places, and didn't even attempt to sing some of the high notes, most noticeably at the end of act 1! The D'amour sull'ali rosee in scene 1 of act 4 is one of the most lovely solo's written by Verdi, however I'm afraid it was somewhat "brutalised" by Eva here, more subtley needed!
The sets were quite atmospheric, although everything obviously happened at night as it was so dark throughout! The Met orchestra were well controlled as usual by James Levine, although it was difficult to hear the singers at times - you often find this with some of Verdi's more dramtic moments!
1 of 1 people found the following review helpful
Format:DVD
Verdi's tragic opera, Il Trovatore, opens with Ferrando, a captain who is telling his troops a terrible tale from 15 years ago. A old gypsy woman was accused of cursing the Count De Luna's (Sherrill Milnes) baby brother,for which she was burnt at the stake. The baby's disappearance, followed by an infants skeleton in the ashes of the stake, comes to the conclusion that her daughter, who was at her mothers execution, had thrown him into the flames as an act of vengence for her mother.
The warrior Manrico (Luciano Pavarotti), is the adopted son of the gypsy, Azucena (Dolora Zajick). She tells him her version of the same events from 15 years ago. She tells him that she kept the baby and brought him up as her own. From this he learns that he is the brother of his sworn enemy The Count De Luna is madly in love with Leonora (Eva Marton), who is the lover of Manrico. De Luna's mad jelousy ends the opera in tragedy.
Sherrill Milnes was wonderful, his voice has a rare kind of beauty that is not usually heard in Baritones. Although he is the villain of the opera, his aria's are beautifully written, making his performance spellbinding. Luciano Pavarotti was vocally excellent as Manrico and although his acting is quite weak, he makes up for it with the singing, as all ways.
Dolora Zajick, in my opinon, gave the best performance. Her powerful mezzo voice was rich and exquisite. The duet with Pavarotti, "Ai nostri monti ritorneremo" was heart breaking, their voices beautifully matched.
Eva Marton was over the top, her singing was to loud and overly dramatic. Although Verdi's music is dramatic, she went across the limit, sounding strained. Her performance of "D'amor sull'ali rosee", was a significant improvement compared to the rest of her performance, but still sounding too forceful.
Anyone who is familiar with Verdi, knows that the music is going to be incredibly exciting and Il Trovatore is no exception. The brilliant composition, from the start to it's dramatic finish, with a mixture of explosive power and beauty, makes this opera a masterpiece.
James Levine conducts a marvelous orchestra, wonderfully interpreting Verdi's fantastic music. Eva Marton spoiled the performance, but it was saved by the rest of the cast who were all superb, making this, not one of the best, but still a good production from the MET.
The warrior Manrico (Luciano Pavarotti), is the adopted son of the gypsy, Azucena (Dolora Zajick). She tells him her version of the same events from 15 years ago. She tells him that she kept the baby and brought him up as her own. From this he learns that he is the brother of his sworn enemy The Count De Luna is madly in love with Leonora (Eva Marton), who is the lover of Manrico. De Luna's mad jelousy ends the opera in tragedy.
Sherrill Milnes was wonderful, his voice has a rare kind of beauty that is not usually heard in Baritones. Although he is the villain of the opera, his aria's are beautifully written, making his performance spellbinding. Luciano Pavarotti was vocally excellent as Manrico and although his acting is quite weak, he makes up for it with the singing, as all ways.
Dolora Zajick, in my opinon, gave the best performance. Her powerful mezzo voice was rich and exquisite. The duet with Pavarotti, "Ai nostri monti ritorneremo" was heart breaking, their voices beautifully matched.
Eva Marton was over the top, her singing was to loud and overly dramatic. Although Verdi's music is dramatic, she went across the limit, sounding strained. Her performance of "D'amor sull'ali rosee", was a significant improvement compared to the rest of her performance, but still sounding too forceful.
Anyone who is familiar with Verdi, knows that the music is going to be incredibly exciting and Il Trovatore is no exception. The brilliant composition, from the start to it's dramatic finish, with a mixture of explosive power and beauty, makes this opera a masterpiece.
James Levine conducts a marvelous orchestra, wonderfully interpreting Verdi's fantastic music. Eva Marton spoiled the performance, but it was saved by the rest of the cast who were all superb, making this, not one of the best, but still a good production from the MET.
Format:DVD
Jeffrey Wells fine baritone gets us off to a fine start. In scene 2 of act 1 Eva Marton gives a powerhouse of a performance ably supported by Di Franco.
In scene three we are introduced to the mellow baritone of Sherrill Milnes, and Pavarotti makes his appearance. In the trio however the powerfully voiced Marton overwelms the mens voices.
In act 2 the red themed costumes of the gypsys as they perform the anvil chorus is a highlight, it is also very well staged. The appearance and voice of Zajick grabs your attention and holds you.
Act three has the aria Ah! Si Ben Mio, excellently sung by Pavarotti, as is the final trio led by him. I cannot help but reflect that Pavarotti is the John Wayne of opera, always himself no matter what the part.
Act 4 produces some impassioned singing from Marton, and a final flaming revelation from Zajick.
The sets are as dark as the story, and are appropriate. The costumes very good and factionally themed in reds and blues.
I like the booklet, the arias etc. are timed and numbered, with a separate synopsis in act and scene order.It also has a liberal sprinkling of stills from the production.
In scene three we are introduced to the mellow baritone of Sherrill Milnes, and Pavarotti makes his appearance. In the trio however the powerfully voiced Marton overwelms the mens voices.
In act 2 the red themed costumes of the gypsys as they perform the anvil chorus is a highlight, it is also very well staged. The appearance and voice of Zajick grabs your attention and holds you.
Act three has the aria Ah! Si Ben Mio, excellently sung by Pavarotti, as is the final trio led by him. I cannot help but reflect that Pavarotti is the John Wayne of opera, always himself no matter what the part.
Act 4 produces some impassioned singing from Marton, and a final flaming revelation from Zajick.
The sets are as dark as the story, and are appropriate. The costumes very good and factionally themed in reds and blues.
I like the booklet, the arias etc. are timed and numbered, with a separate synopsis in act and scene order.It also has a liberal sprinkling of stills from the production.
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