Il Trovatore review - Quick Telecast - Upsmag - Magazine News


Il Trovatore review – Quick Telecast

Il Trovatore, Opera Australia
Joan Sutherland Theatre, Opera House
July 15
Until July 30

For those who know Verdi’s Il Trovatore from Opera Australia’s previous dark staging by the late, honored Elke Neidhardt, Davide Livermore’s new production with digital set by Giò Forma and D-Wok fairly leaps off the stage.

Il Trovatore is showing at the Sydney Opera Australia.

It does so quite literally in the Anvil Chorus where, far from sitting patiently at their forges thinking about girls, the gypsies inject delight as a circus troupe of insinuating leering agility – and also graphically, in the striking tarot-style images which silently deal fateful prophecy from the giant moving digital screens.

Yet displacement, ethnic cleansing and genocide still lurk behind the theme, just as they did for Verdi and Neidhardt, with an artillery-scarred apartment block, a bombed church, Gianluca Falaschi’s modern costumes and the stark silhouette of eerily abandoned fairground ruins all bringing the work ominously into the present.

As Manrico, the Troubadour of the title, tenor Yonghoon Lee triumphed over a seasonal lurgy which unsuccessfully stalked his vocal cords in the first half, to deliver an intensely projected sound, richly colored like burnished copper and with a resplendent top C in “Di quella pira l’orrendo focci” in the third act. His fiery-eyed dramatic persona had the firm-set posture of an animated hero about to banish an army of demons with a single blow.

Leah Crocetto sings Leonora with sweetness and strength, molding crescendos in her Act 1 cavatina “Tacea la notte placida” with masterly control. She took a commanding lead in duets and ensembles, deftly assisting Lee where he needed to mark a line or two, and sustaining with peerless vocal poise the dramatic and musical focus of the work’s culmination in the Act 4 aria “D’amor sull’ali rosee” and ethereal Miserere chorus

As the possessed jealous villain Count di Luna, Maxim Aniskin’s baritone had the ruthless strength of rough steel, heavy and unswerving, with a threatening stage persona to match.

The ensembles of these three carried the work’s fierce dramatic confrontations with thrilling power, augmented by superb work from the Opera Australia Chorus in moments of agitated energy, in clamouring finales and in passages of evanescent quietness.

Il Trovatore, Opera Australia
Joan Sutherland Theatre, Opera House
July 15
Until July 30

For those who know Verdi’s Il Trovatore from Opera Australia’s previous dark staging by the late, honored Elke Neidhardt, Davide Livermore’s new production with digital set by Giò Forma and D-Wok fairly leaps off the stage.

Il Trovatore is showing at the Sydney Opera Australia.

It does so quite literally in the Anvil Chorus where, far from sitting patiently at their forges thinking about girls, the gypsies inject delight as a circus troupe of insinuating leering agility – and also graphically, in the striking tarot-style images which silently deal fateful prophecy from the giant moving digital screens.

Yet displacement, ethnic cleansing and genocide still lurk behind the theme, just as they did for Verdi and Neidhardt, with an artillery-scarred apartment block, a bombed church, Gianluca Falaschi’s modern costumes and the stark silhouette of eerily abandoned fairground ruins all bringing the work ominously into the present.

As Manrico, the Troubadour of the title, tenor Yonghoon Lee triumphed over a seasonal lurgy which unsuccessfully stalked his vocal cords in the first half, to deliver an intensely projected sound, richly colored like burnished copper and with a resplendent top C in “Di quella pira l’orrendo focci” in the third act. His fiery-eyed dramatic persona had the firm-set posture of an animated hero about to banish an army of demons with a single blow.

Leah Crocetto sings Leonora with sweetness and strength, molding crescendos in her Act 1 cavatina “Tacea la notte placida” with masterly control. She took a commanding lead in duets and ensembles, deftly assisting Lee where he needed to mark a line or two, and sustaining with peerless vocal poise the dramatic and musical focus of the work’s culmination in the Act 4 aria “D’amor sull’ali rosee” and ethereal Miserere chorus

As the possessed jealous villain Count di Luna, Maxim Aniskin’s baritone had the ruthless strength of rough steel, heavy and unswerving, with a threatening stage persona to match.

The ensembles of these three carried the work’s fierce dramatic confrontations with thrilling power, augmented by superb work from the Opera Australia Chorus in moments of agitated energy, in clamouring finales and in passages of evanescent quietness.

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