by usia review

Verdi’s Il Trovatore: A Test of Vocal Greatness

“This masterpiece requires the four greatest singers in the world!”

— Enrico Caruso

Composed between 1851 and 1853 and revised in 1856, Il Trovatore premiered at the Teatro Apollo in Rome and quickly established itself as one of Giuseppe Verdi’s most demanding and enduring operas. Together with Rigoletto and La Traviata, it forms Verdi’s celebrated “popular trilogy,” works that combine chivalry, honor, heroism, and tragic love with an abundance of unforgettable melodies.

This production, featuring staging and costumes by Alessandro Ciammarughi and musical direction by Antonio Pirolli, embraced a traditional aesthetic that underscored the opera’s dark, warrior-like atmosphere—entirely appropriate for a drama driven by vengeance, fate, and passion.

The Drama

The plot of Il Trovatore, though complex, remains dramatically compelling. Its intensity lies less in realism than in emotional truth, sustained by a succession of magnificent arias and ensembles.

Act I introduces Leonora (Cristiana Oliveira), who sings the aria “Tacea la notte placida”. In the darkness, she mistakenly embraces the Count di Luna instead of her beloved Manrico, leading to a duel between the two rivals.

Act II unfolds in a gypsy camp, where Azucena (Cátia Moreso), a tormented mezzo-soprano, recounts the horrifying story of her mother burned at the stake. Seeking revenge, she throws a child into the flames—only to realize too late that she has killed her own son by mistake. Manrico, whom she raised, is in fact the Count’s brother. Meanwhile, Leonora, believing Manrico dead, seeks refuge in a convent. The Count attempts to abduct her but is thwarted by Manrico’s companions.

Act III sees the Count attacking the castle where Leonora has taken shelter. Azucena is captured by Ferrando (Dario Russo) and condemned to the stake. Upon hearing this, Manrico launches into the famous aria “Di quella pira” and rushes to save the woman he believes to be his mother.

Act IV reaches the opera’s tragic conclusion. Imprisoned, Leonora hears the mournful Miserere and agrees to surrender herself to the Count in exchange for Manrico’s life. She secretly drinks poison, and when Manrico accuses her of betrayal, she sings “In quest’ infame l’amor venduto”. The Count orders Manrico’s execution, and only then does Azucena reveal the ultimate truth: the man he has killed was his own brother.

Performances

The cast included Cristiana Oliveira (Leonora), Ivan Gyngazov (Manrico), Alessandro Luongo (Count di Luna), Cátia Moreso (Azucena), Dario Russo (Ferrando), Joana Seara (Inès), and Sérgio Martins (Ruiz).

Particular praise goes to Ivan Gyngazov as Manrico. His lyric-spinto tenor displayed a brilliant timbre, secure high notes, and excellent vocal technique, meeting the formidable demands of the role with confidence and authority.

While Cristiana Oliveira sang Leonora with musicality and refinement, one might have wished for a more dramatic soprano voice, with greater vocal volume, to fully dominate Verdi’s expansive orchestration.

The night’s undeniable triumph belonged to Portuguese mezzo-soprano Cátia Moreso as Azucena. Her performance combined vocal beauty with intense dramatic expression, capturing the character’s anguish, fury, and tragic destiny. It was a role sung with emotional truth and vocal solidity, earning well-deserved acclaim.

Musical Direction and Production

Resident conductor Antonio Pirolli offered a well-shaped and attentive interpretation, giving singers ample support and dramatic flexibility. At times, however, the orchestra tended to overpower the voices—particularly in the final moments—where greater restraint would have enhanced vocal clarity.

The production and sets, originating from the Opera of Trieste, adhered to a traditional visual language, emphasizing a martial and somber atmosphere that suited the opera’s themes of war, revenge, and fatal passion.

Final Thoughts

Il Trovatore remains a supreme test of vocal prowess, justifying Caruso’s famous remark. When cast with singers capable of meeting its extreme demands, the opera reveals its full power. This performance, anchored by a superb Manrico and a triumphant Azucena, reaffirmed Verdi’s genius and the enduring appeal of one of opera’s most passionate dramas.

A Teatro Nacional de São Carlos Opera

 @TNSC #verdi

Thanks to: TNSC