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Il Trovatore


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Product Details

  • Format: Multiple Formats, Classical, NTSC
  • Language: Italian (DTS 5.1), Italian (PCM Stereo)
  • Subtitles: English, German, French, Spanish, Chinese, Korean, Japanese
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 1.78:1
  • Number of discs: 1
  • Studio: C Major Entertainment
  • DVD Release Date: March 26, 2013
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (4 customer reviews)
  • ASIN: B0094AH3IO
  • Amazon Best Sellers Rank: #367,797 in Movies & TV (See Top 100 in Movies & TV)

Editorial Reviews

Love and revenge are fatally interwoven in Il trovatore, and barely any character survives the somber action. Based on a Spanish play in the tradition of gothic horror, it proved to be a triumph for Verdi. Within a few years it saw performances in major opera houses across the world and remains one of the most popular operas in international repertoire.

Customer Reviews

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Most Helpful Customer Reviews

11 of 13 people found the following review helpful By Noam Eitan on March 11, 2013
Format: Blu-ray
This 2010 Parma production was mired in controversy from the get-go. The original soprano and mezzo were booed at the opening night and cancelled the rest of the run. Their replacements are not much better, they are not interesting artists. The twenty-five years old soprano has no control over her top; she is not ready for this demanding role. The mezzo has several issues, the major one being a weak bottom, which is a serious problem in this opera. Baritone Claudio Sgura is a great singer (he sings an impressive Scarpia on the Tosca blu-ray from Venice). His has a big, deep, powerful voice, well projected, idiomatic phrasing and Verdi style: a rare Verdi baritone. Bass Deyan Vatchkov sings a fine Ferrando but his voice is a bit small. Conductor Yuri Temirkanov has no affinity or feeling for this score. At best he is insipid. Based on this Trovatore and on his Traviata from 2007 (in the Tutto Verdi) I would stay away from any Verdi he conducts. The production is minimalistic. The stage floor looks like a lunar landscape: bare, a few rocks, a few props that change from scene to scene. The moon is ever present in the background and changes in size and color. The production is not intrusive; it has a few nice tableaux but little dramatic tension. The singers are on their own as far as directorial work or guidance. To add insult to injury the score is heavily cut with no repeats of cabalettas, and that in a Verdi Festival. "Di Quella Pira" is transposed down so that the tenor can finish on the unwritten "high C", which is a high B here. This is done almost everywhere (pace Philip Gossett...), including the Met Trovatore, also with Álvarez (Álvarez always transposes down to interpolate a high B).

The biggest attraction is Marcelo Álvarez .
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2 of 2 people found the following review helpful By AM on June 2, 2013
Format: Blu-ray Verified Purchase
This recording of "Il Trovatore" was held in Parma in 2010. The production is minimalistic. The scenario reminds, vaguely, the lunar surface. In the background, in several scenes, there is a huge full moon, sometimes white, sometimes red - the effect is beautiful and suitable for the nocturnal atmosphere of this opera. Few objects in the scene, including a big horse and giant candles. The costume indicates, directly, who is who: soldiers, nuns, gypsies. Regarding the musical aspects: excellent participation of choir and orchestra. The conductor is the seasoned Yuri Temirkanov. He keeps the orchestra under control (though there is one or two moments of disagreement with the singers), with some pleasant surprises. Bulgarian bass Deyan Vatchkov plays Ferrando, using much makeup to look older. Nice timbre, good agility. The young Italian soprano Teresa Romano sings Leonora. Certainly, it is a very complex role for someone who at the time of the recording had only 25 years. There is some trouble with the high notes; after mentioning these caveats, we can say that the performance is satisfactory. Romano seems to have good technique and possibly will have a beautiful future career, if she chooses the right roles. The best of the soloists is the Italian baritone Claudio Sgura: rich, dark tone, with bright trebles; excellent stage presence. His Conte di Luna is malevolent, obsessive about Leonora. Sgura receives deserved applause after playing, with a lot of emotion, "Il balen". Undaunted by the presence of the famous Argentine tenor Marcelo Álvarez, who has sung Manrico with some frequency. Here, Alvarez seems more at ease than in his other video recording singing the same role (Metropolitan Opera). Manrico is a little heavy for his voice, but the tenor strives to overcome their own limitations.Read more ›
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6 of 8 people found the following review helpful By dongiovanni on July 20, 2013
Format: Blu-ray
There are two reviews already presented and I tend to agree with the second one. The first one is high handed, in the writer's usual supercilious, hey- listen- to- me style. Coming from a provincial theatre with local singers it is a bit unfair to compare it with the super budget New York Met production with imported singers from all directions of the compass.
Even so, on Verdi's own turf with mostly Italian singers the singing is at least 90% superlative. Conductor Temirkanov is no disappointment either. One word about the sets: these are very original, all sets against a pitch black background to symbolize the 'dark night of the soul', the obsession that is prevalent in all the characters. The giant moon is a brilliant idea since it represents lunacy motivating the characters.Even Conte di Luna. Nomen est omen.
(Note: I am adding this about 6 months later. I have had a chance to view the New York Met production referred to above and I can safely say it's no way better than this one in spite the BIG STAR names and the super promo talk. The conducting is rudimentary and undistinguished, the video is poorly balanced favoring the voices, the stage direction seems aimless: there is lots of throwing bodies down the floor without any reason, Leonora posturing, lying on the floor and screaming.... don't get me started.)
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1 of 1 people found the following review helpful By Jeff Wolf on December 15, 2014
Format: Blu-ray Verified Purchase
In Act IV -- after Leonora has bargained her virginity to Count di Luna for her beloved Manrico's freedom and the Count insists she repeat her promise in order to convince him he really heard what he thinks he heard -- soprano Teresa Romano, baritone Claudio Sgura, and conductor Yuri Temirkanov go slightly out of synch for a couple of bars. True, it's a highly dramatic moment, even in this most operatic of operas. What makes it remarkable is that it's the only wavering of ensemble in a production in which two of the four principals, including Romano, replaced opening night singers who were booed off the stage at the Teatro Regio di Parma.

Which indicates what we have here is a pretty darn good Trovatore in a straightforward, more or less "traditional" presentation -- a commodity in surprisingly short supply in the video catalog.

Not that "straightforward" means boring or that "traditional" means old-fashioned. In Verdi's other two masterpieces of the early 1850s, Rigoletto and La Traviata, we recognize characters who inhabit what we think of as the "real" world. In contrast, Trovatore takes place in a darkened dreamscape in which figures are driven by obsession, compulsion, runaway desire. Why is Leonora madly in love with a man whose face she has never seen and whose voice she has heard only at a distance? Why is the Count di Luna determined to possess a woman who openly, continually rejects him? Why has Azucena waited all these years to tell Manrico her life goal is to avenge her mother's being burned at the stake? In the throes of conflicting emotions, are Manrico and Leonora more desirous of loving or of dying? Verdi permits no room for such questions. The music's momentum propels us forward without time to reflect and analyze.
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