On some level, this Trovatore didn’t really need to be a video. The opera is set in an eternal night, with moonlight moodily illuminating what there is of a set (by Kevin Knight), which is a staircase, sometimes two, that moves from scene to scene. The costumes, also by Knight, are bright red for di Luna, Ferrando, and his soldiers, a black dress for Leonora, and a sort of Gypsy-look for Manrico and Azucena–nothing unpredictable, thank goodness, but hardly worth more than a glance. Paul Curran’s direction has the singers doing what we expect of them–emoting, interacting, looking enraged/sad–it’s pretty much a stand-and-deliver performance. But then again, most Trovatores are just that.
So you might argue that the interest is with the singers, as it should be, and there is some good news. Dimitra Theodossiou is a major soprano and her Leonora is a fine portrayal. Verdi sopranos are rare nowadays, and Theodossiou has almost what it takes–a big, appealing voice with a free top, an ability to sing quietly when it’s called for, an innately musical sense of phrasing, and clear knowledge of how Verdi shapes a vocal line. She starts out well and gets better as the opera progresses, seemingly more involved, and her fourth act is stunning. Her singing of the cabaletta after the “Miserere” is a high point. More thought and slightly less old-fashioned posing might help.
The veteran baritone Leo Nucci, who has been singing for almost 40 years, still impresses as di Luna, his phrasing and control (and bad-guy grimaces) those of a pro. The voice is certainly more dry than in previous years, but the notes are still there and so is the will and temperament. Miroslav Dvorski sings Manrico with real Verdian tone–his is an attractive, good-sized voice–and a sense of excitement; but it’s a very direct performance, devoid of nuance. Perhaps a better conductor might coax more interesting singing from him, but as usual, Carlo Rizzi beats time insensitively until excitement is needed and then he energizes everyone with quick tempos and brisk attacks. The Azucena of Mariana Pentcheva is neither interesting nor exciting; she does what she has to, seemingly without thought. The chorus and orchestra of the Bologna theater are excellent.
The picture and sound are very good. In other words, this Trovatore generates some excitement–and Dimitra Theodossiou is definitely a soprano to pay attention to, Nucci’s di Luna is fine, and tenor Miroslav Dvorski has a voice to reckon with. The best alternative is on TDK, in a stunning production from 1978 with Domingo (superb), Kabaivanska (alluring, but somehow not quite right), Cossotto (remarkable), and Cappuccilli (wonderfully resonant and villainous as di Luna) under Herbert von Karajan.
