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Most Helpful Customer Reviews
2 of 2 people found the following review helpful:
5.0 out of 5 stars
A grand yet sensitive "Trovatore",
By
This review is from: Verdi: Il Trovatore (Audio CD)
Interestingly, in November 2005 BBC CD Review pundit Hilary Finch tacitly revoked her earlier pronouncements in "Gramophone" and chose this as her favourite version. I bought and I enjoyed it as a result, while still acknowledging that there is some audible evidence of the ravages time had wrought on Price's voice; it is a little husky but there is still a majestic and stately grandeur in her smoky tone. I do not agree with a previous reviewer that a cast like Bonisolli, Cappuccilli, Obratsova and Raimondi is not up to international standard or that Karajan is "glib", even if I do accept that the 1970 Mehta account is superior and that Karajan's conducting is more visceral in the 50's version - but I like to hear an interpretation which provides a subtler alternative to the usual "gung-ho" approach. It's such a pleasure to hear an orchestra caress this music instead of banging the hell out of it and there is a depth and richness in the strings so often missing in more provincial bands - and let's face it, most orchestras can sound provincial next to the Berlin Philharmonic. Bonisolli's baritonal heft is very welcome, as is his willngness to sing tenderly. There is a temptation to characterise him as a grand-standing clown on account of his ability and willingness to prolong barn-storming top C's but he's much more than that. Obratsova's vast, even crude, voice with its booming lower register and secure top notes provides real thrills in a role to which she is perfectly suited and in which she rivals Cossotto for sheer visceral attack. Both Raimondi and Cappuccilli are a little too soft-grained but again, it's a change to hear these roles so carefully sung, with attention to the subtlety of dynamics and phrasing which Karajan's more relaxed tempi evidently encourage. Yet there's no lack of brio in the opening to Act 3; Karajan brings much more energy to the score than the aging Serafin in his estimable set with Bergonzi and Stella. In short, I really like this later version by Karajan even if I would not part with his famous 1962 live Salzburg set, the studio version with Callas or the Mehta.
25 of 30 people found the following review helpful:
5.0 out of 5 stars
Magnificent, Terryfing, Brilliant, Splendid,
By
This review is from: Verdi: Il Trovatore (Audio CD)
This is the best recording of "Il Trovatore" ever known to me. The reason is simple. Here you can find every performer perfectly suitable to their roles and the most suitable to his "role" is Herbet von Karajan. I think that "Trovatore" is his opera. He is capable of doing some outstanding conducting. Starting with the first scene. What a magnificent performing by the orchestra! Especially the closing moments. I've never heard anything like that and belive me, I've heard a lot. Then comes chorus of zingara, brilliant. What a sound! From my childhood I go mad about this scene. Splendid! Now lets talk about the performers. Let me start with the ladies. Leontyne Price is the best Leonora of the 20th century. She is so great. Starting with "Tacea notte placida..." and finishing with "Manrico, addio..." every sound produced by her is beyond the capability of human voice. She's never casual with her high notes, everything is brilliant. Elena Obraztsova, my favourite mezzo, is, I believe, the best Azucena of the 20th century. I've heard many outstanding mezzos in this role, Cossotto, Barbieri, Simionatto, but Elena's voice is the most suitable for Azucena's tragic personality. Listen to her when she's singing "Stride la vampa..." and finally comes "Il figlio mio, il figlio mio...". Everything is perfect, her high notes are great and her low register is like a stone. She's got the strongest low register among all mezzos. Manrico is Franco Bonisolli one of the most suitable roles. He's cabaletta is brilliant, full of passion and voice, his high C is outstanding. Many people say that he's got the finest and easiest high C among the 20th century tenors. Listen and judge. Piero Cappuccilli is the best Di Luna of the 20th century. Sometimes too rough, still he is brilliant. Listen to him in first act trio, his aria in second act. his "No, giammai" in the final scene of the second act. What can I say? this is the best recording of "Trovatore", must have. I really enjoy it.
6 of 7 people found the following review helpful:
5.0 out of 5 stars
The perfect Il Trovatore,
This review is from: Verdi: Il Trovatore (Audio CD)
I could not agree more with the reviewer before me - this is one of the best, and probably THE best, Il Trovatore ever recorded. Karajan's conducting has a great sense of drama and does justice to the score in every possible way. The tempo is considerably slower than I hear this opera usually conducted, but after you get used to the pace you will be thrilled by the way he extends the most important musical moments of the piece. The very finale of the opera for example sends shivers down my spine every time I hear it, with the right time and attention given to the final utterances of the principals, so often abrupt and rushed through. Or the sweet but yet horrifying Leonora's Miserere, with the monks' chorus just brilliantly following her... under Karajan you can really feal the plasticity and structure of the score. The principals are outstanding, and do an outstanding job at following the demandingly slow and original conducting. Azucena is one of my favourite of Verdi's roles and Obraztsova's interpretation here is just incredible. Her rendition of "Condotta ell'era in ceppi" is the most dramatic and terrifying that I have ever heard. But apart from her incredible chest register, she is notable for three things: the power of her voice (that penetrates through all choruses and orchestral walls), technical perfection and the moving sadness she brings to the role. Do not fear, her Azucena is as violently mad as ever, but she brings that often overlooked sad maternal love and vulnerability to "Giorni povera vivea" and to the confrontation with the Count. Azucena becomes more than a strange witch, but also a shattered and traumatised woman. Her final cry "Manrico! where is my son?" is heart-breaking. Leonora is arguably a less complex character, but Leontyne Price is absolutely outstanding in the role that has always been one of her fortes. A lot of Leonora's singing is in a comparably low register, and Price's versatile voice is as at home there as in the high thrills, not to mention the never pathetic emotion she so easily reads into the part. You will not be able to get enough of her in this role. Bonisolli as Manrico is great, the slightly darker colour of his voice very suitable to this temperamental role. What I find with many singers (e.g. recently with Roberto Alagna) is that they sing this role as if Manrico is angry all the time, but Bonisolli reads a lot of tenderness into bits such as his love aria in Act 3, or his "Riposa o madre" duet with Azucena, which becomes a moving little lullaby (you can't scream "Go to sleep" to someone can you?). His "Di Quella Pira" is as good as any, and not rushed through as with some conductors who fear their singers will not be able to hold the high notes for long enough. Cappuccilli, one of my favourite baritones, is a superb Count, nothing to say apart from that he gets it right. All in all, the great interpretative ability of all of the singers and Karajan's interesting and blastingly dramatic conducting make this mid-price cd a must-have. Even if you already own a recording or two of this opera, you will not be sorry for getting this one.
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