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Verdi: Il Trovatore Import

3.5 out of 5 stars 2 customer reviews

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Product details

  • Performer: Sutherland, Pavarotti
  • Conductor: Bonynge
  • Composer: Giuseppe Verdi
  • Audio CD (1 Oct. 1999)
  • SPARS Code: ADD
  • Number of Discs: 2
  • Format: Import
  • Label: Decca
  • ASIN: B0000041RB
  • Average Customer Review: 3.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 192,933 in Music (See Top 100 in Music)
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Product description

Verdi: Il Trovatore / Bonynge, Pavarotti, Sutherland, Horne . Release Date: 10/25/1990 . Label: Decca . Catalog #: 417 137 . Spars Code: ADD . Composer: Giuseppe Verdi . Performer: Norma Burrowes, Dame Joan Sutherland, Luciano Pavarotti, Peter Knapp, ... Conductor: Richard Bonynge . Orchestra/Ensemble: National Philharmonic Orchestra, London Opera Chorus . Number of Discs: 2 . Recorded in: Stereo . Length: 2 Hours 19 Mins. Works on This Recording: 1. Il trovatore by Giuseppe Verdi Performer: Norma Burrowes (Soprano), Dame Joan Sutherland (Soprano), Luciano Pavarotti (Tenor), Peter Knapp (Bass), Ingvar Wixell (Baritone), Marilyn Horne (Mezzo Soprano), Nicolai Ghiaurov (Bass), Graham Clark (Tenor), Wynford Evans (Tenor) Conductor: Richard Bonynge Orchestra/Ensemble: National Philharmonic Orchestra, London Opera Chorus Period: Romantic Written: 1853; Italy Date of Recording: September 1976 Language: Italian

Customer Reviews

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Top Customer Reviews

Format: Audio CD
This is a woefully misguided and magnificently miscast production of "Il trovatore." Only someone suffering from the lunatic delusion that Verdi's "Il trovatore" is a bel canto opera could love it.

"Il trovatore" has its faults but even its faults have a shaggy grandeur to them. This performance has been willfully distorted to accommodate the talents of Joan Sutherland and Marilyn Horne, neither of whom is a singer in any way suited to this blood and guts opera. Pavarotti is only slightly better in the power-driven role of Manrico. The old warhorse does not deserve to be beaten in this manner. Even the Bocelli version--and you cannot imagine how it pains me to say this!--is more true to the intentions of the composer than this set.

One star for a performance that is miscast, misconceived, and misconducted--plus a star for the sheer, bitter laughter it engenders.
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Format: Audio CD
Disclaimer: Taste is subjective. For twenty years now I have been enjoying Verdi's music as presented in this set. The voices are matchless -especially Pavarotti-, the orchestra is... well, the National Philharmonic. Maestro Bonynge is an opera conductor par excellence. The remastered 1977 recording is flawless, as you could expect from a Decca 1986 release. The sound is absolutely great. This said, I must admit that I love opera, but I am not so deep into it as to say I am a connoisseur of specific voices for specific roles - I just enjoy very much a good performance and a wonderful recording. In my opinion, this is all about even for the most demanding music-lover. And I happen to be one of them - an incorrigible collector of recordings and a non-professional pianist. All in all, I would recommend this set of Il Trovatore to all music-lovers. This is great value for your money and an enormous pleasure for your ears. Try a used copy if it reads 'currently unavailable'.
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Most Helpful Customer Reviews on Amazon.com (beta) (May include reviews from Early Reviewer Rewards Program)

Amazon.com: 3.6 out of 5 stars 12 reviews
2.0 out of 5 stars Missing the mark 19 Feb. 2014
By 4Real - Published on Amazon.com
Format: Audio CD Verified Purchase
This is a bad, bad Il Trovatore. To see how far this production has missed the mark, you only need to listen to the glorious productions with Caballe and Tucker (my favorite) or that with Callas and di Stefano.
2 of 2 people found the following review helpful
4.0 out of 5 stars Pavarotti's great Manrico; not so for the ladies. 15 Aug. 2013
By Abert - Published on Amazon.com
Format: Audio CD
This is a complete recording of Verdi's 'Il Trovatore', made in 1977. People complain against Sutherland and Pavarotti's portrayals as Leonora and Manrico.
I find nothing wrong with their more bel canto style. Actually, Pavarotti is to be preferred to other big voices who inevitably gave Manrico an almost brutal vocal portrayal.
Despite the heavy dramatic thrust of the script, the musical score is still basically bel canto. To treat the score as verismo is stylistically uninformed.
That said, Bonynge here is only marginally alright, and could have fared better if he gives his singers more momentum by adopting a briskier tempo, such as in 'Ah si, ben mio'. His recitatives were also too bland at times.
Pavarotti has sufficient squillo to bring off 'Di quella pira', no frills. The timbre is focused and the high notes well hit and well held and brought off in real bravura. If he could not, then there is really no place for the like of a Domingo (with lowered pitch).
Pavarotti is musically more nuanced than Franco Bonisolli, who otherwise would be a perfect Manrico.
The main draw for this album not being awarded 5 stars are first Horne and second Sutherland.
Horne's timbre is hardly resplendant in this recording, and she pressed her voice at the mid range to an unpleasant squeal quite often. Her `Stride la vampa' suffers as well as ensemble work from this inadequacy.
Sutherland after the mid-1970's began her slow but gradual vocal decline, and this is sadly evident in this recording at critically lyrical moments. Contrary to what other reviewers said, it is her soft singing that posed most problems here. 'D'amor sull'ali rosee' is a sad example of a great soprano showing signs of a past-prime vocal state. She is still very capable in the ensembles, though.
Wixell is a vocally effective Count, more so than Milnes at any point of time.
2 of 3 people found the following review helpful
2.0 out of 5 stars A distressing miss for great singers 9 May 2009
By Santa Fe Listener - Published on Amazon.com
Format: Audio CD
Joan Sutherland was sovereign in bel canto roles, but in Verdi she seems limp and passive -- Callas is like a lioness in all the great dramatic roles, Sutherland a raw oyster. It's acceptable for lovers of her stupendous technique to put up with her moony characterization and notorious bad enunciation in La Traviata; the combination of volume, technical command, and sheer beauty of tone was irresistible. But Leonora needs a real vocal actress with dramatic force, and those qualities are beyond Sutherland.

Pavarotti was also best suited to the lyrical side of Verdi -- his best composer was Donizetti -- and he was ill advised to take up Rhadames and Manrico. But a superstar who was reputedly bringing in the lion's share of Decca's corporate profit was expected to sing everything. Therefore, although this isn't the outright disaster of Pavarotti's Otello, his Trovatore is full of stress and strain, to the point that the listener is made uncomfortable.

I was actually happier with Horne and Wixell than other negative reviewers, only to find that Richard Bonynge's wayward, erratic conducting was a constant let down. There are many bad ways to lead a Verdi opera, and he seems highly schooled in most of them. In short, this miscast production is a sad way to remember some world-class talents.
8 of 10 people found the following review helpful
5.0 out of 5 stars Great Singers in Their Prime. 6 Feb. 2000
By Tracy L. Powell - Published on Amazon.com
Format: Audio CD
Giuseppe Verdi's greatest "numbers' opera is given an exciting performance on this recording. Joan Sutherland is an incredible Leonora. Not only does she easily handle the coloratura, but she also shows off the dramatic side of the role. And her diction is crystal clear. Pavarotti obviously loved the role of Manrico (what tenor wouldn't?) as he passionately sings with his usual ringing tone. Perhaps he should've been singing Faust, Manon (in French and more often), Romeo, and even Werther, and Hoffman instead of Manrico at this time, but we have to live with the choices he made. Marilyn Horne is appropriately scary at times and loving as a mother at other times. And this role gives her the opportunity to show off her beautiful chest voice. At times she almost sounds like a baritone! Although I don't think Ingvar Wixell's turn as Count di Luna is his best work, he is still more than adequate. And I believe he is too often maligned. Nicolai Ghiaurov shows off his thunderous bass as Ferrando.
14 of 18 people found the following review helpful
1.0 out of 5 stars Miscasting woes 1 April 2000
By A Customer - Published on Amazon.com
Format: Audio CD
While I am admirers of both Pavarotti (to some degree) and Sutherland, I have to say that they are both miscast in this opera. Pavarotti is a wonderful LYRIC tenor - when he ventures into spinto or dramatic repertory, I find him unconvincing. Manrico is a heavy role, and Pavarotti is reduced to yelling at the end of "Di quella pira." Sutherland, of course, has a wonderful coloratura ability, but only two arias of Leonora's really call for any coloratura at all ("Di tale amor" and "D'amor sull'ali rosee"). The rest of the role finds her out of her league in a primarily spinto part. She changes the whole musical structure of the character by changing what she can't do in terms of power into her strengths, like very high notes that are not in Verdi's score. Bonynge is not his usual dramatic self, Horne and Wixell are only adequate, and the only redeeming feature of this recording is the powerful Ferrando of Nicolai Ghiaurov. Turn to Mehta's magnificent recording on RCA if you want to hear a Trovatore worth listening to.
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