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  • Verdi: Il Trovatore
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Verdi: Il Trovatore


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Frequently Bought Together

Verdi: Il Trovatore + Verdi - Rigoletto / Luciano Pavarotti, Ingvar Wixell, Edita Gruberova, Victoria Vergara, Ferruccio Furlanetto, Riccardo Chailly + Puccini: Turandot at the Metropolitan Opera
Price for all three: $59.32

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Product Details

  • Format: Multiple Formats, Classical, Color, NTSC
  • Language: Italian
  • Subtitles: Italian, German, English
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 1.33:1
  • Number of discs: 1
  • Rated: NR (Not Rated)
  • Studio: Deutsche Grammophon
  • DVD Release Date: August 7, 2012
  • Run Time: 143 minutes
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (52 customer reviews)
  • ASIN: B007R5KKJW
  • Amazon Best Sellers Rank: #21,003 in Movies & TV (See Top 100 in Movies & TV)

Special Features

None.

Editorial Reviews

Customer Reviews

The cast is outstanding.
Bert Lopes
The quality of the sound and especially the video are excellent.
Opera loving chemist
This is a don't miss if you like opera!
Organ Man

Most Helpful Customer Reviews

91 of 101 people found the following review helpful By John G. Gleeson Sr. on May 29, 2012
Format: DVD
My relationship with Il Trovatore goes way back to the Bjoerling, Milanov monaural LP. With the advent of the DVD, I had hoped for a performance that would do justice to this exceptional work but was very disappointed with the Cura, Villaroel version, where the staging was awful and the tenor was too. The Domingo, Kabaivanska disc was an exceptional performance conducted by von Karajan, but the picture and sound suffered simply because of the age of the original taping. But the opera gods have blessed me exceptionally well with this incredibly well done performance.

Not only is this performance musically near perfect (with the exception of using the usual cuts, although Leonora's last act cabaletta is performed) but the staging is wonderful, with singers who can act as well as sing. I think it was Caruso who noted that a good Trovatore requires four world class singers at the top of their game, and the pricipals here are exactly that.

Trovatore, of course, is blamed for having a confusing, lame plot; after all, what other opera has been parodied by Gilbert & Sullivan AND the Marx Brothers? But as William Berger notes in his splendid book, "Verdi with a Vengeance", modern news routinely features far more gruesome events in real life than those contained in the plot. As for the singers ...

In Sondra Radvanovsky we have the Verdi soprano that many have hoped for since the days of Leontyne Price. From top to bottom and all places in between, she has the perfect voice and superb vocal technique. And Boy!! can she act!! Just sample the convent scene, where Manrico, whom she believes to be dead reappears alive and well. THAT is what opera is all about!!

Hvorostovsky is simply the best Count di Luna since Leonard Warren, IMHO.
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30 of 32 people found the following review helpful By Opera loving chemist on May 28, 2012
Format: DVD
Trovatore is the Verdi so many of us love - exciting, beautiful, thrilling music with a plot that is difficult for modern sensibilities to take seriously. This performance is the perfect example of 19th century Italian opera at it best. While all of the leads were excellent, Hvorostovsky stole the show for me. His Di Luna is insane and mesmerizing in his insanity. Radvanovsky, Zajick and Alvarez were excellent also. Occasionally the director adds unnecessary stage filler like the prostitutes in the soldiers camp but in general the production is straight forward and keeps the action moving. The quality of the sound and especially the video are excellent. I watched this twice back to back and am looking forward to watching it again.
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27 of 29 people found the following review helpful By Alejandra Vernon HALL OF FAMETOP 500 REVIEWERVINE VOICE on March 17, 2004
Format: VHS Tape
Though this 1988 Metropolitan Opera performance is far from perfect, it still has a lot to offer the viewer/listener. One of the drawbacks is that Il Trovatore is a "night" opera, where all the drama seems to happen from dusk to dawn; this production takes it literally, and it is very dimly lit. It is saved by its beautiful silvery costumes, which reflect the minimal lighting, so at least you can see where the people are in the midst of the black stage.
The cast:
Luciano Pavarotti is in fine fettle, with a virile, powerful interpretation of the glorious "Ah ! si, ben mio coll'essere", and a bit better than usual acting performances.
Sherrill Milnes is vocally past his prime here, but is a great stage presence, and does an excellent, villainous Conte di Luna; aptly named, because the moonlight becomes him...he looks fabulous.
Eva Marton seems at first uncomfortable in the sweet young maiden part of Leonora, but does get better with every scene; she is really good in the last act, and I always like her singing.
Dolora Zajick's Azucena is superb. A truly magnificent voice, and does well as an actress too.
Jeffrey Wells is wonderful, and makes an effective and attractive Ferrando.
James Levine keeps it all together with enthusiasm, and the sound is terrific.
A lovely touch is the paper raining down on Pavarotti at the final curtain call from an appreciative audience, and there is much to appreciate in this performance of one of Verdi's most melodic, dramatic operas. Total running time is 133 minutes.
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74 of 88 people found the following review helpful By Todd Kay on June 2, 2012
Format: DVD
IL TROVATORE, at this writing the eleventh most frequently performed work in the Metropolitan's annals, has had a checkered recent history at that theater. David McVicar's production, seen here in a revival two years following its 2009 debut, represented an uptick in TROVATORE's fortunes. It replaced a notorious production by Graham Vick, which had premiered in the late 1990s to much derision and was subsequently "gutted" by then-GM Joseph Volpe, to such a degree that Vick asked his name be removed from it. It did not augur well when McVicar was quoted as saying, "On a bad day I think IL TROVATORE is one of the stupidest operas ever written. Before I took it on, I thought that. But that's why I took it on." But the Scottish director went on to deliver a production that is, in the main, apposite and sturdy, likely capable of accommodating new casts in the coming years. He employs the Met stage's turntable to achieve fluidity and momentum from scene to scene, and his direction is specific, dynamic and physical. Occasionally the dynamism and physicality go too far, as if McVicar believes Verdi's music will not hold attention without the aid of a lot of extraneous "business." Azucena changing Manrico's bandages during their first scene together is a nice touch, but I could have done without two supernumerary gypsies' frenetic swordplay during the Anvil Chorus, and even more so the array of strumpets brought on for the Count's men to graphically hump during a chorus in Act III.

It is easy to see why the soprano Sondra Radvanovsky has been a polarizing figure. She has a large voice that easily fills the Met and has some cut to it in ensembles, and in this respect, she is ideal for certain roles the Met has had a hard time satisfactorily casting in recent decades.
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