Verdi’s Il Trovatore
October 3, 2015 (Matinée – Live in HD)
Metropolitan Opera
Dmitri Hvorostovsky just keeps fighting back Photo credit: Marty Sohl |
Lui: We obviously rushed to
get tickets as we definitely could not miss him and wanted to show our support
for an artist we admire so much. And that is how we ended up lining up two
operas in one day – Trovatore matinee for the love of Dmitri and
an evening show of Turandot for which we already had tickets.
Lei: With Dmitri’s plight on
my mind, I came to this performance of Il Trovatore already
feeling more than just a little emotional and I came out of it blissfully
weeping for a number of great reasons, as it was easily the most perfect and
deeply gratifying performance of Il Trovatore that I have ever
experienced.
The gypsies working away at their furnaces. Photo credit: Ken Howard |
Kocán sets the stage. Photo credit: Ken Howard |
Lei: Every time I see this singer I lament the lack of more extensive bass roles in the operatic repertoire, as I really would like to hear more from him. Kocán’s instrument is smooth
and thunderous, with a menacing edge, and, all in all, exudes a quintessential
manliness. As Ferrando, he made a sensational opening with his aria Di due
figli, telling the tale that is really the origin of several
dramatic tensions running through the opera (infanticide, avenging fury,
maternal and filial love, outcasts vs. ruling class conflicts). Kocán sets the
tone for the evening from the get-go, permeating this aria with a hypnotic and
captivating force that remained constant throughout.
Lui: After more than two decades of absolutely owning the role, it is abundantly clear that Dolora Zajick was born to sing the gypsy Azucena. She has all the vocal moves. I particularly appreciate the way she transitions from her head voice, intoning Verdi’s soaring bel canto lines, to her chest voice, dropping into more guttural jarring notes through which seeps the fervor of her anger against the ruling class. Over the years, I feel like her voice has only gotten deeper, making her even more perfect for this role. Zajick is entrancing to listen to as she recounts her trials and tribulations as a mother forced to sacrifice her infant son as the child-swapping plot thickens.
The big reveal: Azucena and her adopted son Photo credit: Marty Sohl |
Lui: Slight of build and
svelte of gait, Yonghoon Lee brought a youthful exuberance to the role
of Manrico. But he was also entirely self-assured, which lent an air of composure
to his demeanor. Not to mention the fact that his instrument is decidedly manly.
As a tenor, he is satisfying in his poignant delivery of the filial affective
core of Verdi’s opera. He was confident of his place in this world and his
voice rang out strong. I had been curious to catch him live and I look forward
to more. He obviously has what it takes.
The heart-wrenching loss of young love Photo credit: Ken Howard |
Lui: Anna Netrebko
sounded better than ever. Her Italian has really come a long way. Usually
brutal with the nuances of her pronunciation of the Italian language, this
afternoon I could make out every syllable of every word she sang. And this
really stood out to me. She was angelic and lovey dovey. In Il cor s’inebria,
I was moved by the conviction of her young love. At turns, she was receptive to
her two suitors; at others she was downright fiery and feisty. We even see her
ramping up the gate in the scene where she pines for her lover who is locked
away in the tower. That is, before she really comes to the realization that her
feelings may lie elsewhere.
Leonora at the rampart Photo credit: Marty Sohl |
Lui: Di Luna is often played
like a dirty old power-hungry fiend, but he can also be played with a more
mature sense of his sensual self, which in my mind is even more in line with
certain nuances of the score and narrative flow. From the moment we are
introduced to the Conte in Act I, his Tace la notte parallels Leonora’s Tacea
la notte placida, which it immediately follows. Are we meant to see them as
subconsciously already on the same wavelength? And then the depth of his
feelings is juxtaposed to those of Manrico when the troubadour can be heard
sweetly strumming his lute and faintly serenading his love from offstage (dolci si udiro e flebili / gli accordi d’un
liuto).
In the clutches of the Conte Photo credit: Marty Sohl |
When he is portrayed as more than just an evil old man, lusting
after a poor maiden in the throes of her first experience of love, new
possibilities in the story arise. It all begins early in the score and libretto
and continues up to the climax. At the end
of Conte di Luna’s Act IV Vivrà duet with Leonora, the prey seemed to
respond to her predator, at least in this particular performance. In a surprising
turn of events, Netrebko actively initiated a kiss, pressing into Hvorostovsky passionately, fervently, as though she was indeed actually swept off her feet, rather
than just making believe to deceive di Luna to get what she wanted. When Leonora goes off with him at the end, Netrebko in this case took charge – she was unequivocally the one who whisked him off the stage.
In the Russian soprano’s hands, the prey suddenly becomes the predator, making it clear that one take on this story is that the young Leonora gets over her first love with the feeble poet once she discovers the sheer seductive power of this bolder velvet-voiced specimen of manhood. It obviously only works with the likes of Dmitri in the role – irresistible barihunk that he is. And the seeds are nevertheless planted as early as the first act, if you are clued in and not reading him or playing him as a scowling monster, which is much more often the case.
Sorry, Manrico, this time the Conte gets the girl. At least for a
fleeting moment, because of course her guilt is too much to bear and things don’t
end well for anyone really. And that is what makes this drama only seemingly
convoluted, but also so incredibly moving. When in the right hands it can be as
cathartic as the best Greek tragedy.
At which point does the prey become predator? Photo credit: Marty Sohl |
Invano un
Dio rivale
s’oppone
all’amor mio,
non può
nemmeno un Dio,
donna,
rapirti a me,
non può
rapirti a me!*
The love of Conte di Luna is also the most profound, tender and
mature love in the whole score. Think of the show stopping aria, Il balen
del suo sorriso, where Dmitri soars with the most elegant and effortless
legato, not to mention the emotional charge of a man exuberantly yet firmly in
love that left me shedding copious tears.
This is possibly the most moving aria in the whole opera, which to
me grounds the counterintuitive conclusion that the villain is a more profound
love interest than the romantic hero. Frankly, any woman listening to Dmitri
deliver Il balen del suo sorriso would pick him over the Troubadour. It’s
really a no brainer. Remember, Manrico is the guy who dumps Leonora to run to
save his mother (who is not even his mother and he kind of knows that too!):
Era già
figlio prima d’amarti,
non può
frenarmi il tuo martir...
Madre
infelice, corro a salvarti,
o teco
almeno corro a morir!**
Also, Manrico is quick to doubt Leonora when she tells him she saved his life, immediately jumping to the conclusion that she betrayed him with the Count and covering her with insults (Ha quest’infame l’amor venduto / This wretch sold her love). Little does he know that she already poisoned herself and will die shortly. So, really, Leonora, you deserve better: next time don’t take that poison, dump that momma’s boy and go home with the hotter and far superior Conte di Luna!
Charles Edwards' Goya-esque sets Photo credit: Ken Howard |
The tragic denouement Photo credit: Marty Sohl |
* In vain a rival God
opposes my love,
not even a God is able,
O woman, to steal you from me,
is able to steal you from me!
** Before I loved you, I was yet her son;
your suffering cannot restrain me...
Unhappy mother, I hasten to save you,
or at least, hasten to die with you!
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