For some unexplained reasons, there seems to be a lot of hostility and jealousy where Alagna and Gheorghiu are concerned. I don't understand why. In this operatic glamour-starved generation, there are few singers who can generate the sheer excitement that these two can. They are certainly very attractive people, and they have certainly demonstrated that they can be wonderful together (as their recordings of "Manon", "Boheme", "Romeo et Juliette", and "Werther" have so beautifully demonstrated), but each has had their share of negative press, and, of course, there have been some rather notorious cancellations. Be all that as it may, it is their "Trovatore" recording that is under consideration here. The opera may be a little "advanced" for them at this stage of their respective careers (Gheorghiu, I know, has not attempted this role on stage, and who knows if she ever will?) I hear nothing offensive in Alagna's Manrico, but nor do I hear anything profound. Gheorghiu sings a very beautiful Leonora, certainly one which can be favorably compared to Zinka Milanov or Leontyne Price. There are times when her middle register takes on a Callas-like color, and it's very distinctive. Larissa Diadkova sings a straight forward Azucena, and doesn't resort to the histrionic excesses that are so easy to put into this "blow the house down" role. Thomas Hampson has an incredibly beautiful baritone, almost too beautiful for the villan di Luna, but it's a pleasure to listen to. I agree with other reviewers here who praise the orchestra and chorus under the direction of Antonio Pappano. Both really impact this performance (never have I heard the Anvil Chorus) sound so vivid and colorful)in a big way. No - this is not the greatest "Trovatore" ever recorded, but all in all, it's a pretty good one. A great one? Probably two monophonic recordings": the 1952 Bjoerling-Milanov on RCA, and the 1962 Salzburg-Von Karajan performance with Leontyne Price and Franco Corelli. Sopranos and tenors like those don't exist anymore.