Verdi: Il Trovatore

Of competing versions, pride of place goes to the new Ghiorghiu-Alagna set, even though Alagna pushes the voice a little too hard at times and holds the high C in "Di quella pira" well beyond its written length. The 1970 Mehta set has a good Leonora in Price and a decent Manico in Domingo, but Milnes' baritone lacks the proper bite for Di Luna and Cossotto is a joke as Azucena once one has heard Barbieri or Diadkova.

So, basically, we are still waiting for a really great "Trovatore." If you like Milanov and Bjorling, get this set. If you want a good balance between singing, drama and completeness, get the Pappano-Alagna set.


A Classic Trovatore --- but by far not the best!   January 22, 2003
 5 out of 11 found this review helpful

This 1952 set has been acclaimed since its debut, and while it does feature some of the most passionate Italian singing on disc, it is poorly conducted and hopelessly boring. Bjoerling is fairly underwhelming, and Cellini never quite captures the dramatic urgency of this gripping work. But the RCA Victor orchestra plays well in spite of it all, and the chorus work is most impressive.

Still, this recording is a must-own for its two leading women, Zinka Milanov and Fedora Barbieri, the latter being indisputably the best Azucena on disc. Zinka Milanov is ideal as Leonora, better than even Antonietta Stella on Serafin's recording; though she doesn't deliver as much intensity as Callas in Karajan's inspired performance (who would?), she sings with soaring beauty and smart, focused characterization. The highlight, though, is the exquisite Azucena of Fedora Barbieri, one of the most underrated singers of the 20th century. She is glorious and exciting, bringing some much-needed thrill to this otherwise lackluster performance.

Here's a summary of great Trovatore recordings: One of the best efforts, in certainly the best sound, is Mehta's 1970 recording with an all-star cast (Domingo, Price, et al) and superb orchestral work. Karajan's with Callas, di Stefano and Barbieri is also a supreme addition to the catalogue; Callas fans should snatch it up without a moment's pause. I guess my No. 1 Recommendation is actually Tullio Serafin's version with Bergonzi as my favorite Manrico of all time; other cast highlights include Antonietta Stella as a wonderful Leonora and Fiorenza Cossotto as a frightening Azucena. Enjoy!


A REMINDER OF THE WAY OPERA USED TO SOUND!   August 18, 2002
 7 out of 7 found this review helpful

I'm going to make this very short and to-the-point. They simply don't sing like this anymore ----- sopranos and tenors
like Milanov and Bjoerling are an extinct breed, and we are the poorer for it. Ditto for Fedora Barbieri and Leonard Warren ------- two more outstanding singers ---- all of whom could be heard regularly at the Metropolitan Opera in the 1950's. But then again, so were many other great singers. We don't have voices like this today --- and one hearing of this recording of "Trovatore" sadly proves it. Recorded in 1952, it still sounds acceptable --- and no subsequent "Trovatore" has matched it, though the famous 1962 broadcast from Salzburg with Leontyne Price, Franco Corelli, Giulietta Simionato, and Ettore Bastianini, all under the baton of Herbert von Karajan, comes the closest.


Down with the director!!   June 11, 2002
 2 out of 10 found this review helpful

I think this is a nice version from Trovatore, but musicaly, It lacks of intensity and drama coming from Cilario and Bjoreling. I must admit that Milanov, Merril and Barbieri are superb in each of their roles, but I didn't like that much Bjorleing's singing in this opera. With so little power in his "di quella pira". Good but not great!
As for the director I don't understand how they let him direct an orchestra!! he is Owghfull, no strenght. Maybe I'm overreacting with Cillario, but I heard so much better performances of the orchestra than this, an when I come back and listen to this one I get every day more disapointed.
Is a good choice if you think in the singers, but a terrible one if you think in the director.
Listen to Correlli's, Pryce version.