Four experiences of Il Travatore 2009-2017

Now to my fourth experiences of the Opera Il Travatore in Theatre relay or on Internet/TV productions (Metropolitan Opera House Subscription service). I begin with my review of the performances from Barcelona and the Metropolitan New York in 2009 and 2010.  I included some of the writing especially of the story when experiencing the 2011 performance from the Metropolitan and finally my reactions to the contemporary set production from the Royal Opera House London on January 31^st this year.

 2 January 2010 Il Trovatore, Barcelona and Met productions 2009/ 2010

As I have written before I had arranged the trip with an extra day at the Lodge with the intention of visiting again the Calle exhibition at the Whitechapel, having a pre-Christmas meal at the Cafe Rouge at Victoria station and a relay from Barcelona of Il Trovatore at the Odeon Convent Garden. My Traviata and Trovatore being mixed up beforehand but no more.

Having watched and heard the opera twice (listening again as I checked this writing) since the live relay I confirm my reaction on the night that this is the most satisfying operatic experience to-date. The opera is full of powerful and passionate arias from the four lead characters where the two female parts were outstanding in the Barcelona production but nothing can compare with the 1988 Metropolitan production with Pavarotti and Dolora Zajick. Every part of the four-act opera performed with one interval between Acts 2 and 3 contains moments of moving drama and singing challenges and listening ecstasy. The reason is the almost unbroken melodiousness of the opera. Yet it nearly did not happen for me

As with the Metropolitan New York and Convent Garden the effect of showing the height of the stage with the width creates an oblong effect shortening the width of the Opera at Barcelona. I could work out the true perspective by counting the number of seats in a row in the theatre and at the opera house and this only served to emphasis the height and depth although unlike the Metropolitan we were not given a behind the scenes peek

The Gran Theatre del Liceu was destroyed by fire in January 1994. While the auditorium was re-created the opportunity was taken to improve the backstage and to fund the development the theatre became Public.

The Liceu production is comparatively simple which a fixed contemporary looking structure of ceiling high columns at either side between which performers enter and exist, and single backcloths designed to show that as a background to the story there is conflict and war between two noble houses in Southern Spain. When the separate houses are represented on stage they have their own backcloth and the soldiers wear blue or red neck scarves and shining red or blue gauntlets. The effect is that much more dramatic than the Metropolitan with its stairways and changes in structures, impressive as these always are. It is also fair to say that the war between the two aristocratic houses is minor significance in terms of the two big issues of the opera.
The opera opens with the captain of the guard for the noble house of Aragon, a baritone, explaining that in the past, the story is set in the fifteen century, a gypsy woman was seen over the child son of the Count di Luna and chased away but the child then fell ill and the court believed that the woman had cast a spell so she was apprehended and told to remove the spell and when the condition of the child did not improved she was burnt at the stake in front of her daughter, who listened to her mother’s cry, daughter, avenge me. By coincidence I was to watch a showing of the Wicker Man a few days later and which has the most vivid and effective of the martyrdoms at the end of the film in which the victim calls for the salvation to his God. In this story the pagan response of the gypsy was to have such profound effect on all the principal characters.

Her daughter Azucena was a young girl with a child of her own in her arms and seeing the horror of her mother’s death and the entreaty to take revenge, managed to enter the castle of the Count and steal one of the brothers, a child of similar age to her own, intending to throw it into the still burning pyre on which her mother had perished. However, in her emotional condition she had mixed up the two babies and thrown her own child which was also burnt alive, bringing up the son of the Count as her own. However, throughout the rest of her life she remains uncertain of what she did, except that she was responsible for the burning to death of a baby

There are different views on this aspect of the story with some writing claiming that the libretto was written with a view that knowing what she had done she would use her son one day against his House, although the Count dies and his other son the Count is not sure if it was his brothers bones in the ashes or the boy was raised by the gypsies.

After this long singing soliloquy of a prologue accompanied by a chorus of the guard, the advises the audience that the opera is to begin.

Most writers admit the melodramatic story has its flaws and none more so that than what happens to the infant that lived and was raised by the gypsy woman, Manrico, who as soon as he is able to, despite a close relationship with his mother, leaves her to become a Troubadour, and somehow as well as a soldier who takes up the cause of a rival Noble House and becomes,, for the purposes of the opera, a leading if not leading assistant on behalf of the House against the Count di Luna. What is worse he has fought and sung his way into the heart of the Duchess Lenora, who the Count coverts with overwhelming passion. When the Count, di Luna learns that the man is singing below the balcony of Leonora he orders his men to apprehend Manrico at the first opportunity.

Having been alerted to his presence one night the Duke approaches and suddenly finds Leonora in his arms who in the fog mistakes him for Manrico who also appears and the three are together on stage with musical as well as dramatic fireworks. In the stage directions, the men fight a duel but this aspect is omitted in both version of the opera I have seen.

The Act ends and with a brief musical introduction the next act begins with a gypsy encampment. The gypsies are working on sword making and the audience is treated to one of the well-loved choruses in opera, The Anvil Chorus. The focus of the Act is the gypsy woman, sung by Luciana D ‘Intinio in the relay and Dolera Krijick in the Met Opera video available on the internet and audio CD. While Luciana is regarded as one of the leading Mezzo sopranos of the present generation, now aged born 1959, specialising in Verdi with Il Trovatore and Aida, plus the Requiem, her major roles, she has no Wikipedia entry. I thought her performance was outstanding and along with that of Lenora the two women made the evening a memorable one. Interestingly she has performed both - Il Trovatore and Aida at the Met. The Act provides the opportunity to recount the past to her son so having had the perspective of the Captain of the Guard we now have that of the daughter. She has been hiding in the land of the House of Biscay but came out to find her son and to nurse him back to health after finding him injured from the recent battle between the forces of Biscay and Aragon. Understandably the account of the past raises doubt about the parentage of Manrico and when he raises these Azucena pulls back and claims that she explained things badly because of her emotional state reliving the trauma.

It is his ‘mother’s’ turn to question Manrico because we learn that in the duel at the end of Act 1 he had got the better of the Count di Luna who had led the forces of Aragon in the recent battle. The gypsy woman wants to know why Manrico did not kill the Count when he had the opportunity and he explains that a voice from heaven prevented him doing so, thus suggesting a subconscious kinship link between the two.

A messenger arrives from the Prince of Biscay to order Manrico to take charge of the forces defending the city of Castellor and we also learn that Leonora believing him dead has entered a convent to take the veil.

The scene switches to the Count who has also heard that Leonora has entered the convent and he sets out to kidnap her before she takes the Holy Orders. Critics claim that his baritone solo is one of the most beautiful solos in Italian opera. The performance of Roberto Frontali as the count is excellent and in my judgement compares to that of Sherrill Miles at the Met, although the latter is regarded alongside Domingo and Pavarotti with whom he has featured in many performances and on CD’s
However before he can implement his plan Marico arrives with greater forces and Leonora amazed that he is alive leaves the convent to join him and there is a moving end to this part of the opera before the only interval as the three express their feelings with the support of the chorus of nuns and military supporters.

During the interval, I enjoyed a coffee from the Theatre and the Danish pastry carried around since leaving the Travel Lodge the day back in my seat, and marvelling at how the day had worked out so far. Whatever happened on the journey back, I was enjoying myself with skin tingling singing

The Third Act opens with the Count laying siege to Castellor where Manrico has taken Leonora with him. There is a commotion and the Count finds that the Captain of his guard has apprehended a gipsy woman who proclaims she is a wanderer looking for her lost son. She is recognised as the woman who took his brother and cast him to the flames and protesting her innocence she calls out to her son by name. Understandably the Count realises that he has double reason to hold the woman prisoner and to burn her at the stake when she has served her purpose. While in the relay production the woman is played by a singer of similar years, this was Krijick’s first role at the Met and she had to age herself by a grey wig and makeup. He voice had not matured to extent of the recent AIDA performance but is nevertheless magnificent. The emotion she coveys is extraordinary and sets as one of the all-time greats. As with AIDA I hope she reprise her role in Il Travatore in some relayed production in the future.

In Castellor Manrico and Leonora are about to be married when news comes of the capture of his mother and breaks off from the ceremony to try and rescue her. I was not impressed by the performance of Marco Berti as Manrico, something shared by Jose M Irurzun who attended several performances to hear the performances of all the International singers taking the roles with in effect three different casts, although there were some cross overs. I also noted that other critics had felt that his singing and characterization has not lived up to expectations in others rolls around the world.

In the fourth act, we learn that his attempt to save his mother failed and he has been captured and thrown into a cell in a prison tower with his mother. Leonora learns of his situation and puts into operation a desperate plan to save his life at the expense of her own. She carries with her a poison ring which indicates what is to take place when she offers herself to the Count in exchange for Marico.

She alerts Manrico of her presence by what has become one of the most familiar most familiar melodies in all of opera, the Miserere.

The plan works in that the Count agrees to free Manrico in exchange for Leonora but Manrico does not accept his release and works out the price Leonora appears to have paid, something he does not understand or forgive until the poison works quicker than anticipated and she dies in his arms. The Count is so angered at being duped that he orders the immediate execution of Manrico and too late he learns from Azucena that he has killed his long-lost brother. Everyone loses. Before there is some moving sing from all four leads with Azucena’s cry, Mother you are avenged.

In the relay, Leonora is played by Florenza Cedolins one of the outstanding new generation of Italian sopranos who first performed only in 1992 and four years later won the Pavarotti Vocal Competition with a prize which included singing Tosca with him in Philadelphia. She was invited to sing The Requiem Mass for Pope John Paul II. I thought her performance on the night was also exceptional and matching that of D’Intinio. For the Met Eva Marton sings Leonora. The Hungarian born singer only four year younger that myself was of matching maturity with Pavarotti when they and together in 1988 and brings her then musical and singing experience to the role. She possesses great power in her voice which led to singing Wagner which was her Met debut in 1976. She performed Il Trovatore at La Scala in 1978 ten years before the Met performance with Pavarotti. In later years, she made Turandot a major role, retiring in 2008

Enrico Caruso stated at the turn of the last century that the opera required four the greatest voices of any generation to match the strength and brilliance of Verdi’s creation. While the relay could be said to have two performances worthy of the opera, the Met production has four and is why I am listening again as I write, the third time since my return. My next interest will be Carmen from the Met on January 16th. Before then I will experience a video, which has been added to the Met Player performances available.

After the pre-Christmas relay and the music filling my senses I had a brilliant journey back to the Travel Lodge. reached Victoria Station in time to get on a one stop train to East Croydon as it prepared to leave the platform, but I managed to find a seat albeit next to a new European who appeared to have been drinking heavily although there was also evidence of some office partying among others returning to Sussex, Brighton and other south coast homes.

Wednesday, 4 May 2011

Il Trovatore from the Met 2011

I have now experienced two live relays and two recorded productions of Il Trovatore since the Christmas of 2009. I was in the mood of the Opera 18 months ago, on the day after that horrific car journey between Wallington and the Travel Lodge at and then found that I was without my mobile phone so I had returned to Wallington to collect this, parked the car at considerable expense by East Croydon station and then travelled to Victoria where I had lunch at the Cafe Rouge before experiencing the Sophie Calle exhibition at the White Chapel gallery after first collecting my theatre relay ticket from the Odeon. I thoroughly enjoyed the day before the performance although there was underlying anxiety about the weather conditions.

The 2009 performance was from the Gran Theatre Del Liceu Barcelona where the city football reached the final of the European football cup last night for the third time in four years. Afterwards on the Metropolitan Opera New York player I watched the 1988 production with Pavarotti and Dolora Zajick. On Saturday 30th of April I visited the Cineworld Bolden and could get one of the remaining seats for a live relay of the Opera from the Met and with Dolora Zajick repeating her 1988 role as the Gypsy mother of the two royal brothers.

I will begin with a confession that I quickly became tired and struggled not to go to sleep which affected my appreciation of the Met relay so my response may not as objective as it would normally be.

The Liceu production was comparatively simple which a fixed contemporary looking structure of ceiling high columns at either side between which performers enter and exist, and single backcloths designed to show that as a background to the story there is conflict and war between two noble houses in Southern Spain. When the separate houses are represented on stage they have their own backcloth and the soldiers wear blue or red neck scarves and shining red or blue gauntlets. The effect is that much more dramatic than the Metropolitan with its stairways and changes in structures, impressive as these always are. It is also fair to say that the war between the two aristocratic houses is minor significance in terms of the two big issues of the opera. I continue to feel the Liceu production remains the most visually effective. This time the Met used a revolving stage which substantial reduced scene change time between the four acts. However the overall effect was dark and added nothing to the overall performance.

The opera opens with the captain of the guard for the noble house of Aragon, a baritone, explaining that in the past, the story is set in the fifteen century, a gypsy woman was seen over the child son of the Count di Luna and chased away but the child then fell ill and the court believed that the woman had cast a spell so she was apprehended and told to remove the spell and when the condition of the child did not improved she was burnt at the stake in front of her daughter, who listened to her mother’s cry, daughter, avenge me. By coincidence I had watched a showing of the Wicker Man a few days after the Barcelona production has the most vivid and effective of the martyrdoms at the end of the film in which the victim calls for the salvation to his God as be burned to death within a large wicker framework filled with animals and produce. In this story the pagan response of the gypsy was to have a profound effect on all the principal characters.

Her daughter Azucena was a young girl with a child of her own in her arms and seeing the horror of her mother’s death and the entreaty to take revenge, managed to enter the castle of the Count and steal one of the brothers, a child of similar age to her own, intending to throw it into the still burning pyre on which her mother had perished. However, in her emotional condition she had mixed up the two babies and thrown her own child which was also burnt alive, bringing up the son of the Count as her own. However, throughout the rest of her life she remains uncertain of what she did, except that she was responsible for the burning to death of a baby.

There are different views on this aspect of the story with some writing claiming that the libretto was written with a view that knowing what she had done she would use her son one day against his House, although the Count dies and his other son the Count is not sure if it was his brother’s bones in the ashes or the boy was raised by the gypsies. It was interesting to see Dolora reprise her role after two decades and as anticipated she never fails to provide a technically perfect performance with great emotional acting. As with the other production all four principal characters are given several opportunities to come to the fore and in this instance, it was the performance of Dmitri Hvorostovsky as Count di Luna which proved the great crowd pleaser.

Dmitri had starred earlier in the season as Don Carlo which I had intended to experience but missed. Born and trained in Russia he came to the fore after winning the Cardiff Singer of the World Competition. A tall man with striking silver hair, once seen and heard he is not forgotten.

After this long singing soliloquy of a prologue accompanied by a chorus of the guard, then advise the audience that the opera is to begin.

Most writers admit the melodramatic story has its flaws and none more so that than what happens to the infant that lived and was raised by the gypsy woman, Manrico, who as soon as he is able to, despite a close relationship with his mother, leaves her to become a Troubadour, and somehow as well as a soldier who takes up the cause of a rival Noble House and becomes for the purposes of the opera, a leading if not leading assistant on behalf of the House against the Count di Luna. What is worse he has fought and sung his way into the heart of the Duchess Lenora, who the Count coverts with overwhelming passion. When the Count, di Luna learns that the man is singing below the balcony of Leonora he orders his men to apprehend Manrico at the first opportunity.

Having been alerted to his presence one night the Duke approaches and suddenly finds Leonora in his arms who in the fog mistakes him for Manrico who also appears and the three are together on stage with musical as well as dramatic fireworks. In the stage directions, the men fight a duel but this aspect is omitted in the versions of the opera I have seen.

The Act ends and with a brief musical introduction the next act begins with a gypsy encampment. The gypsies are working on sword making and the audience is treated to one of the well-loved choruses in opera, The Anvil Chorus. The Act provides the opportunity to recount the past to her son so having had the perspective of the Captain of the Guard we now have that of the daughter. She has been hiding in the land of the House of Biscay but came out to find her son and to nurse him back to health after finding him injured from the recent battle between the forces of Biscay and Aragon. Understandably the account of the past raises doubt about the parentage of Manrico and when he raises these Azucena pulls back and claims that she explained things badly because of her emotional state reliving the trauma.

It is his ‘mother’s’ turn to question Manrico because we learn that in the duel at the end of Act 1 he had got the better of the Count di Luna who had led the forces of Aragon in the recent battle. The gypsy woman wants to know why Manrico did not kill the Count when he had the opportunity and he explains that a voice from heaven prevented him doing so, thus suggesting a subconscious kinship link between the two

A messenger arrives from the Prince of Biscay to order Manrico to take charge of the forces defending the city of Castellor and we also learn that Leonora believing him dead has entered a convent to take the veil.

The scene switches to the Count who has also heard that Leonora has entered the convent and he sets out to kidnap her before she takes the Holy Orders. However, before he can implement his plan Marico arrives with greater forces and Leonora amazed that he is alive leaves the convent to join him and there is a moving end to this part of the opera before the only interval as the three express their feelings with the support of the chorus of nuns and military supporters.

At the end of the second act and commencement of the Interval Renée Fleming interviewed Sondra Radvanovsky who played Leonora and Marcelo Alvarez who played Manrico. The two have performed together several times before and enjoy the relationship. However, what struck me is despite considering that people fall for each other for irrational reasons that most women given a choice between the two men involved would go for the Count, tall, handsome, wealthy and oozing personality whereas Manrico is overweight with a tinge of wetness about him and comparatively poor! Oh, I am being so unfair.

Sondra was born and bred in the USA and is now in her early forties having been developed as a young artist by the Metropolitan I have little information except that she also performed with Alvarez in Don Carlo, He on the other hand has an extensive repertoire of 29 roles since commencing his professional career in leading roles in 1994, born in Argentina in 1962 and is highly regarded as a leading tenor.

Renée interviewed Dolora and Demitri after 15-minute break when you could sit in and watch someone doing some work on scenery or got for a natural break and in my case out to the car to eat a prepared prawn salad and drink a diet Pepsi.

The Third Act opens with the Count laying siege to Castellor where Manrico has taken Leonora with him. There is a commotion and the Count finds that the Captain of his guard has apprehended a gipsy woman who proclaims she is a wanderer looking for her lost son. She is recognised as the woman who took his brother and cast him to the flames and protesting her innocence she calls out to her son by name. Understandably the Count realises that he has double reason to hold the woman prisoner and to burn her at the stake when she has served her purpose

While in the relay production the woman is played by a singer of similar years, in the Met film this was Krijick’s first role at the Met and she had to age herself by a grey wig and makeup. “Her voice had not matured to extent of the AIDA performance but is nevertheless magnificent” I wrote at the time. The emotion she coveys is extraordinary and marks her as one of the all-time greats. “As with AIDA I hope she reprises her role in Il Trovatore in some relayed production in the future.” Well she did wow, and she was great along with Dmitri

In Castellor Manrico and Leonora are about to be married when news comes of the capture of his mother and breaks off from the ceremony to try and rescue her. “I was not impressed by the performance of Marco Berti as Manrico, something shared by Jose M Irurzun who attended several performances to hear the performances of all the International singers taking the roles with in effect three different casts, although there were some cross overs. I also noted that other critics had felt that his singing and characterization has not lived up to expectations in others roles around the world.”

In the fourth act we learn that his attempt to save his mother failed and he has been captured and thrown into a cell in a prison tower with his mother. Leonora learns of his situation and puts into operation a desperate plan to save his life at the expense of her own. She carries with her a poison ring which indicates what is to take place when she offers herself to the Count in exchange for Manrico.

She alerts Manrico of her presence by what has become one of the most familiar most familiar melodies in all of opera, the Miserere

The plan works in that the Count agrees to free Manrico in exchange for Leonora but Manrico does not accept his release and works out the price Leonora appears to have paid, something he does not understand or forgive until the poison works quicker than anticipated and she dies in his arms. The Count is so angered at being duped that he orders the immediate execution of Manrico and too late he learns from Azucena that he has killed his long-lost brother. Everyone loses. Before there is some moving sing from all four leads with Aucena’s cry, Mother you are avenged.

“In the Barcelona relay, Leonora is played by Florenza Cedolins one of the outstanding new generation of Italian sopranos who first performed only in 1992 and four years later won the Pavarotti Vocal Competition with a prize which included singing Tosca with him in Philadelphia. She was invited to sing The Requiem Mass for Pope John Paul II. I thought her performance on the night was also exceptional and matching that of D’Intinio. For the Met Eva Marton sings Leonora. The Hungarian born singer only four year younger that myself was of matching maturity with Pavarotti when they and together in 1988 and brings her then musical and singing experience to the role. She possesses great power in her voice which led to singing Wagner which was her Met debut in 1976. She performed Il Trovatore at La Scala in 1978 ten years before the Met performance with Pavarotti. In later years, she made Turandot a major role, retiring in 2008

Enrico Caruso stated at the turn of the last century that the opera required four the greatest voices of any generation to match the strength and brilliance of Verdi’s creation. This statement was repeated by Renée Fleming in her introduction.

The response of the full house audience at Bolden was mixed with the husband/companion of one woman to one side appearing irritated by the ending and departing as soon as the opera ended. The woman remained to enjoy ecstatic applause in the auditorium. There was a double curtain call restricted to the principals. In terms of good tunes the Opera is second only to Carmen.

Posted by Colin J Smart at 11:54

Labels: opera 2011

I therefore come to the 2017 production from the Royal Opera House with Alexander Tsymbalyuk as Ferrando, Lianna Haroutounian as Leonora, Francesca Chiejina as Ines, Gregory Kunde as Manrico, Vitaliy Billy Count de Luna, Anita Rachvelishvili as Azucena, Jonathan Fisher as the Old Gypsy, Rus Samuel Sakker and the messenger Andrew O’Connor.

In the introduction to the Opera and again I believe during the interval the point was made that the opera only works if four of the most technically accomplished singers perform the lead roles and possess the internal experience understanding and acting abilities to communicate the emotional intensity of the roles.  I only have visual memory and no musical sound so cannot compare how the four soloists on this occasion compared with previous. Physically the four were well casted and there was credibility with one exception in that despite her extraordinary moving and justifiably acclaimed performance as the mother of Manrico, Anita Rachvelishvili came across as too young to be his mother although this may my eye sight.

The Royal Opera House had chosen production and set designers to place the opera in a contemporary setting of civil war complete with a real looking tank. The ambiance a gypsy encampment was replaced by a garish small contemporary caravan and the set was in constant darkness which has become common place with periodic symbolic burst of fire including a large heart shaped fire on Azucena’s burning pyre made most real at the end of the film the Wicker man. I thought the production and set did not achieve its intended purpose but the overall performance was not affected given my attention was concentrated on the magnificent signing performances. From a conversation across the aisle I learned that that the orchestra and singers were out of sync at times and it was evident from the comments of the man standing that he regarded individual as an expert on all things musical who had been to see one current musical production four timers to gain an understanding of what is was all about. Where I was in total accord was their comments that La La Land was overrated and over hyped. It was a memorable evening given the nature of the week but I need to experience again the Met production to come to any overall judgement on my four experiences of the opera in seven years.