Verdi - Il Trovatore / Domingo · Plowright · Fassbaender · Zancanaro · Nesterenko · Santa Cecilia · Giulini

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À propos du Trouvère de Verdi, le grand chef Arturo Toscanini disait qu'il suffisait de réunir les quatre plus grands chanteurs du monde pour que les représentations soient réussies. Le plateau vocal regroupé autour de Carlo Maria Giulini est-il le meilleur dont on puisse rêver ? Sans doute n'est-il pas le plus exceptionnel que l'on puisse constituer ; il reste néanmoins d'une haute tenue vocale, avec un Placido Domingo qui campe un intéressant Manrico et une Rosalind Plowright qui brosse de Leonora un portrait haut en couleur, malgré une voix qui manque parfois de puissance et de projection. Carlo Maria Giulini offre un bel écrin sonore à l'ensemble vocal. --Pierre Guillaume

Verdi - Il Trovatore / Domingo · Plowright · Fassbaender · Zancanaro · Nesterenko · Santa Cecilia · Giulini, Music, Giuseppe Verdi, Carlo Maria Giulini, Pácido Domingo, Rosalinde Plowright, Brigitte Fassbaender, Evgeni Nesterenko Giorgio Zancanaro, Classical, Classical Music, Italian Romantic Opera, Opera, Opera/Operetta

Verdi - Il Trovatore / Domingo · Plowright · Fassbaender · Zancanaro · Nesterenko · Santa Cecilia · Giulini
Average customer rating:

YES~It's a "keeper"...with a notation

A stately and dignified performance!

Beautiful But Not Powerful:

Everything is right except the soprano, alas

Technically Perfect But Seems To Be Missing Something

Verdi - Il Trovatore / Domingo · Plowright · Fassbaender · Zancanaro · Nesterenko · Santa Cecilia · Giulini
Giuseppe Verdi , Carlo Maria Giulini , Pácido Domingo , Rosalinde Plowright , Brigitte Fassbaender , and Evgeni Nesterenko Giorgio Zancanaro
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001G9Y
Release Date: 1989-11-21

Tracks:

Il Trovatore: Part I - Scene 1: Introduzione - All'erta! All'erta! - (Ferrando) (Familiari) (Armigeri)
Il Trovatore: Part I - Scene 1: Introduzione- Di Due Figli Vivea Padre Beato... Abbieta Zingara. Sull'orlo Dei Tetti - (Ferrando) (Familiari) (Armigeri)
Il Trovatore: Part I - Scene 2: Scena E Cavatina - Che Piu T'arresti? - (Ines) (Leonora)
Il Trovatore: Part I - Scene 2: Scena E Cavatina - Tacea La Notto Placida... Di Tale Amor - (Ines) (Leonora)
Il Trovatore: Part I - Scene 2: Scena, Romanza E Terzetto - Tace La Notte! - (Il Conte)
Il Trovatore: Part I - Scene 2: Scena, Romanza E Terzetto - Deserto Sulla Terra - (Manrico) (Il Conte)
Il Trovatore: Part I - Scene 2: Scena, Romanza E Terzetto - Non M'inganno. Ella Scende!... Di geloso Amor - (Il conte) (Leonora) (Manrico)
Il Trovatore: Part II - Scene 1: Coro Di Zingari E Canzone - Vedi! Le Fosche Notturne Spoglie (Zingari ) (Zingare)
Il Trovatore: Part II - Scene 1: Coro Di Zingari E Canzone - Stride La Vampa! - (Azucena)
Il Trovatore: Part II - Scene 1: Coro Di Zingari E Canzone - Mesta E La Tua Canzon! - (Zingare) (Zingari) (Azucena) (Manrico) (Un Vecchio Zingaro)
Il Trovatore: Part II - Scene 1: Scena E Racconto - Soli Or Siam! - (Manrico) (Azucena)
Il Trovatore: Part II - Scene 1: Scena E Racconto - Condotta Ell'era In Ceppi - (Azucena) (Manrico)
Il Trovatore: Part II - Scene 1: Scena E Duetto - Non Son Tuo Figlio? (Manrico) (Azucena) (Un Messo)
Il Trovatore: Part II - Scene 1: Scena E Duetto - Mal Reggendo All'aspro Assalto (Manrico) (Azucena) (Un Messo)
Il Trovatore: Part I - Scene 2: Scena Ed Aria - Tutto E Deserto - (Il Conte) (Ferrando)
Il Trovatore: Part I - Scene 2: Scena Ed Aria - Il Balen Del Suo Sorriso... Per Me, Ora Fatale - (Il Conte) (Ferrando) (Seguaci)
Il Trovatore: Part I - Scene 2: Finale Secondo - Ah! Se L'error T'ingombra - (Religiose) (Il Conte) (Ferrando) (Seguaci)
Il Trovatore: Part I - Scene 2: Finale Secondo - Perche Piangete? - (Leonora) (Ines) (Il Conte) (Religiose)
Il Trovatore: Part I - Scene 2: Finale Secondo - E Deggio, E Posso Crederlo? - (Leonora) (Il Conte) (Manrico) (Ferrando) (Seguaci) (Ines) (Religiose) (Ruiz) (Armati)

Tracks:

Il Trovatore: Part III - Scene 1: Coro D'Introduzione - Or Co'dadi... Squilli, Echeggi La Tromba Guerriera - (Armigeri) (Ferrando)
Il Trovatore: Part III - Scene 1: Scena E Terzetto - In Braccio Al Mio Rival! - (Il Conte) (Ferrando) (Soldati) (Azucena)
Il Trovatore: Part III - Scene 1: Scena E Terzetto - Giorni Poveri Vivea (Azucena) (Ferrando) (Il Conte) (Soldati)
Il Trovatore: Part III - Scene 2: Scena Ed Aria - Quale D'armi Fragor Poc'anzi Intesi? - (Leonora) (Manrico)
Il Trovatore: Part III - Scene 2: Scena Ed Aria - Ah! Si, Ben Mio - (Manrico)
Il Trovatore: Part III - Scene 2: Scena Ed Aria - L'onda De' Suoni Mistici - (Leonora) (Manrico)
Il Trovatore: Part III - Scene 2: Scena Ed Aria - Manrico? Che? La Zingara - (Ruiz) (Manrico) (Leonora)
Il Trovatore: Part III - Scene 2: Scena Ed Aria - Di Quella Pira - (manrico) (Leonora) (Ruiz) (Armati)
Il Trovatore: Part IV - Scene 1: Scena, Aria E Miserere - Siam Giunti - (Ruiz) (Leonora)
Il Trovatore: Part IV - Scene 1: Scena, Aria E Miserere - D'amor Sull'ali Rosee - (Leonora)
Il Trovatore: Part IV - Scene 1: Scena, Aria E Miserere - Miserere. Ah! Che La Morte Ognora - (Voci Interne) (Leonora) (Manrico)
Il Trovatore: Part IV - Scene 1: Scena, Aria E Miserere - Tu Vedrai Che Amore In Terra - (Leonora)
Il Trovatore: Part IV - Scene 1: Scena E Duetto - Udiste? Come Albeggi - (Il Conte) (Leonora)
Il Trovatore: Part IV - Scene 1: Scena E Duetto - Qual Voce! Mira, Di Acerbe Lagrime... Vivra! Contende Il Giubi - (Il Conte) (Leonora)
Il Trovatore: Part IV - Scene 2: Finale Ultimo - Madre, Non Dormi? Ai Nostri Monti - (Manrico) (Azucena)
Il Trovatore: Part IV - Scene 2: Finale Ultimo - Che! Non M'inganna Quel Fioce Lume?... Ha Quest'infame L'amor - (Manrico) (Leonora) (Azucena)
Il Trovatore: Part IV - Scene 2: Finale Ultimo - Ti Scosta! Non Respingermi - (Manrico) (Leonora) (Il Conte) (Azucena)

Customer Reviews:

YES~It's a "keeper"...with a notation.......2007-05-31

As my reviews are usually "long", I decided to make this one very short, but clearly deliniate where I feel this recording falls for a recording of "Il Trovatore" with Placido Domingo.

This is Truly a Great recording of one of Verdi's earlier masterpieces. Everything is Very Good, or Better, from all of the singers, and also the orchestra, and, of course, Maestro Giulini's conducting (could he ever turn in anything that was not "the Best?"). And, if you have space for several recordings of this opera, it belongs in a large collection.

However, I personally need to interject the statement....."But, don't forget Domingo's earlier entry with Price and Milnes under Zubin Mehta!" I think one starts first with this recording for a Domingo "Il Trovatore". For a "Best" recording, I would look to the past, perhaps to Callas' effort on EMI, or the RCA with Bjoerling, Milinov, and Warren.

A stately and dignified performance!.......2007-01-19

I don't refer to Maria Callas or any other singer when determining what is correct in Il Trovatore or any other Verdi performance, and I try to keep in mind that enjoyment is the primary interest of the public. So, I must say that this performance fills both requirements: it is enjoyable and accurate!

One may interpret G. Verdi accurately in only two ways, exactly as written or rather fast. Verdi believed that liveliness was the key guarantee that his works would not be boring and suggested that dragging the tempo would ruin the best intentions of accuracy. Guilini's tempi are sometimes slow but they never drag and he had the talent to interpret exactly what Verdi wrote without sounding like an academic conductor. How incredibly beautiful are the horns in di Luna's scene, the strings in Manrico's "mal reggendo" and the accents in the opening scene. The texture is rich, full, and fluid almost impressionistic. I do believe the cover is platinum gold for a reason. Giulini must have had an affinity with the levels vibration and the effects of depth, height, and strength because this Il Trovatore is unrivalled for its high quality. It is altogether lovely and much will be revealed to you, in fact, I never knew just how beautiful the orchestration of Il Trovatore really is, I just would get excited by all the melodrama. But now I know!

Domingo is in good voice and I have never heard him sing better. The high C's in "di quella pira" seem somehow unatural, perhaps touched up a bit by digital technology but to very good effect. His "mal reggendo" is a lovely piece of singing and he seems fully up to the challenge. I am really not a Domingo fan; even his live performances made no impression on me, but I am objective enough to admit how beautiful his middle voice is, how even his passaggio, how strained his top is. Zancanaro is a blessing in this recording and seems a true Verdian by the quality of his attack and tonal thrust, the breath goes straight through the tone in best Verdi tradition. A narrow but rich voice, Zancanaro commands it well. Fassbaender has some surprisingly effective moments and her bright vowels became attractive before the end of the recording.

The Leonora, yes, Dona Leonor! Rosalind Plowright does not live up to her later Leonor in Forza del destino in terms of excitement, but her stately portrayal, slightly heady and nebulous is perfect for this recording. Leonora is simply a peripheral character nothing more, and she is not quite in her right mind. Those show stealing Leonoras are great, of course, but do they really personify this character without a past or a future? We know NOTHING about Leonor, she is a mystery, a disturbance, and nuissance to Manrico! She yearns for that singing Troubador so hard that she forgets herself totally. Have you ever wondered who would miss her when she died? Maybe her parents were very old or she ran away, was adopted, exciled, or just plain crazy. I am sure Neptune was squaring her Sun from the fourth house! Anyway, Plowright's reticence, her strange veiled voice, her insecurity, betray a noble background in my mind and she alternated great beauty with languid frailty and lonliness, and therefore, I can't find any flaws with her. And, Leonor is written for a dramatic soprano and with that huge sound, she more than filled the requirement. The spintos didn't inherit Leonora until the late 1950's before then we had only the full dramatics and dramatic coloraturas like Arangi-Lombardi, Milanov, Scacciati, Eva Turner, Carena, Mancini, Juyol, Crespin and Destinn.

Finally, I have no intention of throwing away my sets with Banaudi, Tucci, Molinari; there is just too much excitement in those, but I have added this one! How lucky I am!!!!

Beautiful But Not Powerful: .......2006-02-20

This recording of Verdi's Trovatore, made in the 80's, should not be your first choice for a Trovatore recording, despite a beautifully sung interpretation by great singers- Placido Domingo (in his third recorded Manrico), Rosalind Plowright, Birgitte Fassbaender and Giorgio Zancanaro. Conductor Carlo Maria Giulini, late in his career, conducts with utmost delicacy and a slow, leisurely pace, revealing his old age as compared to the vigor he conducted with in such earlier recordings as Mozart's Don Giovanni and the EMI Don Carlos with Domingo, Caballe and Milnes. However, it is a beautiful reading of the score, and sounds considerably darker and more haunting than other conductor's treatments - like the supercharged Herbert Van Karajan for instance or Zubin Mehta.

The CAST: Giorgio Zancanaro [Count Di Luna) ** Rosalind Plowright [Leonora] ** Brigitte Fassbaender [Azucena] ** Plácido Domingo) [Manrico ** Evgeny Nesterenko [Ferrando] ** Anna di Stasio [Ines] ** Walter Gullino [Ruiz] ** Alfredo Giacomotti [An old Gypsy] ** Aldo Verrecchia [A messenger).

Enough has already been said about the flawed vocal technique and interpretation of Leonora by soprano Rosalind Plowright, who has of course retired and other than this recording, is found as Leonora Di Vargas in Forza Del Destino. A British soprano, she possesses a huge, lyric voice but she has been criticized for thsi Leonora because it's considerably underpowered next to the more razzle-dazzle Leonoras of Maria Callas and Leontyne Price. For me, only Leontyne truly satisfies as the best Leonora. Plowright has some things in her favor however. Her account of the role is mature, beautiful and controlled. Instead of succumbing to melodrama, she remains the most cool Leonora ever performed. Consequently, she masters all the slow cavatinas - Tacea La Notte, D'al Amor Sul Ali Rosee and the Miserere scene. For the Miserere scene, however, she self-consciously sings like Maria Callas, lowering her voice to reveal a chest register that is not as good as one would like. In fact, throughout the more dramatic portions of the opera, she imitates Callas quite well, though admitedly she's better than Angela Gheorghiu in the recent recording with Roberto Alagna. But on the upside, Domingo sings what many have come to believe is his finest Manrico on recording. His voice at this stage in his career was darker, more mature and able to produce subtle tones. He has lost the freshness and vitality of his RCA 1970 Manrico with Price and Milnes. I don't think this is his best Manrico, though there are terrific moments such as the famous "Di Quella Pira" which stands out from all others because Giulini followed Verdi's original instructions. Manrico's aria is supposed to be dramatic but written in mezzo di voce and therefore Domingo sings the aria without the glorious high top, stepping it down octaves lower than usual and does not sustain the high note that finalizes the aria. This, however, does not detract from the intensity of the moment, but alas Domingo sounds like he's done with singing Manrico by this point. And indeed he never sang Manrico on recording after this. This is not his best Manrico (the one with Leontyne and Sherill Milnes is) but it is a very handsomely sung interpretation. Is there anything that Domingo does not sing beautifully ? This one's for Domingo fans.

Birgitte Fassbaender had a flexible, lyric mezzo soprano voice and she has done excellent operatic roles that range from Prince Orlofsky from Strauss' Die Fleidermaus and Charlotte the heroine in Massenet's Werther. But Fassbaender is primarily a lyric mezzo soprano and does not possess the "nastiness" and "bite" for the role of Azucena, the vindictive, witch-like Gypsy who gets her revenge on the Count Di Luna at the end of the opera. Fassbaender, therefore, is consequently miscast as Azucena and is lackluster next to the Azucenas of Fiorenza Cossotto and Dolora Zajick- whose account of the role on the Aprille Millo/Domingo Trovatore is unrivaled. Fassbaender does a lot of beautiful things with the music for Azucena but is totally miscast. You have to be a fan of hers in order to appreciate her Azucena. But I think it's purely experimental of her part to sing this. Even Elena Obraztsova scored better success as Azucena.

Finally, Zancanaro is an outstanding Count Di Luna, perhaps even outshining Sherill Milnes. He is into his character, sing with fine Verdi musicality and his bass voice is expressive, huge and handsome. Zancanaro is less admirable as Scarpia which he sang in a recording with Carol Vaness. This role is better suited to his lyric voice. The truth about this recording's merits are that the singers are lyric, as is the conductor's reading of the score. But if you prefer more dramatic and fiery Trovatores, look elsewhere. Try these:

The Maria Callas Trovatore (inevitably)

Any Trovatore with Mario Del Monaco as Manrico

Leontyne Price, Franco Corelli, Giuletta Simionato, Ettore Bastianni/Karajan

Leontyne Price, Placido Domingo, Fiorenza Cossotto, Sherill Milnes/Mehta

Aprille Millo, Placido Domingo, Dolora Zajick/Levine

Katia Ricciarelli, Jose Carreras/Sir Colin Davis

Everything is right except the soprano, alas.......2005-09-27

Somewhere inEngland Rosalind Ploweright must be sitting in obscurity, unknown to the wider world and forgotten by opera fans except for the fact that she ruined this recording of Il Trovatore and Sinopoli's of La Forza del Destino. It was a gamble to use her in the first place, but she did have a big dramatic Verdi voice, and its peculiar unpleasantness of tone was no worse than Callas.

But Callas was a genius, which is why one accepted, or endured, her squawks and curdled tones, her stabs at high notes and leathery chest tones, whereas these drawbacks are merely grating in Plowright.

Everything else, especially Giulini's conducting and domingo's portrayal of Manrico, is first class. But a Trovatore without a soprano is a pretty sad affair.

Technically Perfect But Seems To Be Missing Something.......2005-07-16

IL TROVATORE is an opera that is laughed at because of its implausible plot of two rivals fighting for the same woman only to learn that they are brothers. How did they get separated at birth? A gypsy steals a baby and when she tries to escape, she accidentally throws her own child into a fire and raises the kidnapped child as her own son. If Manrico, Leonora, Azucena, and the Count di Luna lived today we'd probably see them on JERRY SPRINGER. Still, the opera survives and is a perennial favorite due both to its exciting music and the opera's opportunities for singers to demonstrate their abilities at vocal fireworks. Over the years there have been great Manricos such as Mario del Monaco and Franco Corelli and of course both Callas and Tebaldi made the role of Leonora their own. Each star that sings this great opera often adds flourishes and bits and pieces never penned by Verdi but somehow are a part of this work. The vocal fireworks often make the recording.

This recording of the opera is technically perfect. The singing is first rate as one would expect from the likes of Domingo, Zancanaro, and in roles not often associated with their voices, Rosalind Plowright and Brigitte Fassbaender. Carlo Maria Giulini has magnificent control over all the moving pieces and the chorus is magnificent. The only problem is the recording is flat sounding. It is a recording that is accurate at the expense of being exciting.

My guess is that most people who have listened to this recording as their first TROVATORE are mesmerized by it, as anyone should be by such a spectacular cast, but those who own other recordings or have heard some of the singers from what is often called opera's "Golden Age" may find this set good but lacking.

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