Greece Hotels Travel :: Verdi: Il Trovatore; Roberto Alagna/Angela Gheorghiu

Greece Hotels Travel - Verdi: Il Trovatore; Roberto Alagna/Angela Gheorghiu

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Manufacturer: EMI Classics

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Binding: Audio CD
EAN: 0724355736024
Label: EMI Classics
Manufacturer: EMI Classics
Number Of Discs: 2
Publisher: EMI Classics
Release Date: 2002-09-17
Studio: EMI Classics

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Editorial Reviews:

Il trovatore has been one of Verdi's most beloved, enduringly popular operas ever since its first performance 150 years ago. The libretto is notorious as one of the most improbable, confused, and confusing of its kind, but in Verdi's hands its one-dimensional stock figures become flesh-and-blood characters whose fears, hopes, and suffering we can easily identify with. The music encompasses the heights and depths of human emotion, and the vocal writing demands singers of enormous vocal and expressive range. This recording is a bit strange and not entirely satisfying, partly because some of the intrinsically fine singers seem miscast. Angela Gheorghiu's voice is lovely, with a velvety warmth and a beautiful high register; the low notes sound uncomfortable and not always in tune. She is best in the lyrical arias. The first one has a touching tremulousness, but generally her Leonora is a little pale. Thomas Hampson is, as always, a commanding presence, but his thoughtful, restrained approach makes Luna's raw, vengeful fury seem contrived and artificial. Ildebrando D'Arcangelo's Ferrando is excellent; Larissa Diadkova sings very well, but does not get inside Azucena's haunted, tormented brooding and hallucinatory madness. Roberto Alagna is most disappointing. He slides, scoops, sobs, and exaggerates everything. Indeed, if truth be told, he yells, but suddenly takes a single note mezza voce for no discernible reason. His Manrico has no subtlety or tenderness, and the constantly high volume seems at variance with the singing style of a "Troubadour." It is the orchestra and chorus who emerge as the ultimate heroes of the recording. --Edith Eisler

Spotlight customer reviews:

Customer Rating:

Summary: I'm having a problem with Hampson.
Comment: I must admit it. I heard Milnes for the first time in around 1970 while I was a high school kid. While I had been playing classical piano for years with a good deal of success, I didn't think that opera was for "men." Well, Milnes sounded like a man. With thrilling high notes. He made me want to sing. And I still sing. But not like Milnes, of course.

Well, now, to this recording. Hampson has his moments. But during Il Balen, for instance, he sounds like a really fine second tenor who spent the prior night out drinking but had to pull it together for a 10 a.m. performance. Nothing is wrong. But the voice doesn't exhibit a sufficient amount of "oomph." In my opinion.

I have the old recording with Milnes, Price, Domingo, et al. While the sonics aren't up to modern standards, I'll stick with the oldie.

FWIW, I have never been a Price fan. I put up with her recordings because of the quality of the casts recording with her.

Customer Rating:

Summary: NOT THE GREATEST 'TROVATORE', IT'S A PRETTY GOOD ONE
Comment: For some unexplained reasons, there seems to be a lot of hostility and jealousy where Alagna and Gheorghiu are concerned. I don't understand why. In this operatic glamour-starved generation, there are few singers who can generate the sheer excitement that these two can. They are certainly very attractive people, and they have certainly demonstrated that they can be wonderful together (as their recordings of "Manon", "Boheme", "Romeo et Juliette", and "Werther" have so beautifully demonstrated), but each has had their share of negative press, and, of course, there have been some rather notorious cancellations. Be all that as it may, it is their "Trovatore" recording that is under consideration here. The opera may be a little "advanced" for them at this stage of their respective careers (Gheorghiu, I know, has not attempted this role on stage, and who knows if she ever will?) I hear nothing offensive in Alagna's Manrico, but nor do I hear anything profound. Gheorghiu sings a very beautiful Leonora, certainly one which can be favorably compared to Zinka Milanov or Leontyne Price. There are times when her middle register takes on a Callas-like color, and it's very distinctive. Larissa Diadkova sings a straight forward Azucena, and doesn't resort to the histrionic excesses that are so easy to put into this "blow the house down" role. Thomas Hampson has an incredibly beautiful baritone, almost too beautiful for the villan di Luna, but it's a pleasure to listen to. I agree with other reviewers here who praise the orchestra and chorus under the direction of Antonio Pappano. Both really impact this performance (never have I heard the Anvil Chorus) sound so vivid and colorful)in a big way. No - this is not the greatest "Trovatore" ever recorded, but all in all, it's a pretty good one. A great one? Probably two monophonic recordings": the 1952 Bjoerling-Milanov on RCA, and the 1962 Salzburg-Von Karajan performance with Leontyne Price and Franco Corelli. Sopranos and tenors like those don't exist anymore.

Customer Rating:

Summary: 3.75 Stars to be correct for this Trovatore
Comment: Il Trovatore

Opening: D'Arcangelo - Excellent!! His deep velvet tone lends itself organically to the music of Ferrando. His Abita zingara has the eerie darkness needed to make the 16th notes figures of the aria pulse on the back of the listeners neck. Sull' orio dei tetti as conducted by Pappano is probably the best combo conducted between Ferrando and chorus I have heard. The tempo is just fast enough to engage the listener completely.

Tacea la notte placida - Gheorghiu does a very good attempt at the heavy phrasing of one of Verdi's most vocally challenging arias. Her lower register is not developed enough for Leonora. The role demands more dramatics in the voice than Gheorghiu gave. On the other hand, the cabaletta Di tale amor, with its fast coloratura passages sits better on Gheorghiu's voice than the cavatina.

Infida! Qual voce! - The fastest trio I have ever heard. The orchestra and singers followed Pappano like a hawk. Singing was decent. Alagna seems to scream his way through the trio overpowering the rest. The sliding and crying is not good on the voice. A great attempt is made at the end of the aria when both soprano and tenor take the crowd pleasing high D flat.

Act II -

Stride la vampa: This aria lacks life, focus, color, and intensity. The sound might be there, but everything else is missing. Diadkova has the potential to bring Azucena to life; however, her attempt does not succeed.

Mal raggendo: Great singing in this aria. One can really hear the French ping from Alagna voice in the phrasing. At times he can get over-dramatic, but never loses the intensity.

Il balen: Hampson delivers a lyrically and emotionally charged aria that reminds me of a Sherill Milnes recording with Price, Domingo, Cossotto and Mehta conducting (which is without exception, the ONE to own vocally speaking). Hampson ring is pleasant throughout and his flexibility with the line is excellent. The caballeta afterward is a reminder of the flexibility and complete control that he has over his instrument.

Quintet and double chorus: The quintet is okay. Nothing unusual. I really believe that Gheorghiu could have given more volume to the high notes in order to balance out everyone else. The score does state `con tutta forza'. Ferrando is excellent, Count and Troubadour great. I have not mentioned the chorus once in this review and it is for a reason: They are the best part! All throughout Act I and II they have been almost perfect. The diction, phrasing and near perfection with markings are unbelievable. GREAT JOB!!

Act III

The men's chorus at the beginning of this act is very well done. Also, great conducting and orchestral playing as well.

Giorni poveri - one of the many arias that Verdi wrote for a mezzo. Technically speaking, it is very challenging for the singer to keep the gas going through this aria and through the trio that follows. Diadkova does alright. Once again, it sound very superficial and in some places the listener can hear Azucena tiring vocally. Verdi Mezzos are very seldom nowadays.

Cavatina - Ah si, ben mio : Very well done. Some scooping. Also a very interesting mezza voce on the cadenza. The passion is there and one can hear the acting.

Cabaletta - Di quella pira: Alagna has some lungs! This is perhaps the most adventurous cabaletta I have heard from Mr. Alagna. There are uncalled scoops and unneeded "cries." However, the rest is very bravura singing almost Del Monaco style but a little over the top. The premature high C at the end is a nod to the tenor made by the tenor. Not needed but it doesn't hurt. If you have it, sing it until you crack.

Act IV

This act in particular rest solely on the shoulders of the soprano. It is her moment, the moment where she can bring the audience to their feet. The latter is possible with the right soprano and an educated audience. An example is the unbelievable Leonora portrayed by American soprano Sondra Radvanovsky given last June at L.A. Opera. She commanded the act and brought everyone, I mean everyone to their feet after her D'Amor sull' ali rosee. Everyone talked about her dark and agile voice. Sondra is worth listening to for a true Verdi soprano sound. Now back to business..

D'amor sull'ali rosee - I return to the issue of vocal color. Gheorghiu has lovely tones throughout her singing and her high is as delicate and sensual as a rose. However, there lack the depth that true dramatic sopranos lend naturally that Gheorghiu lacks. She understands the words and has the idea of line, but does not have il colore di donna abbandonata .

Miserere - Better due to the chorus.

Duet between Manrico and Azucena: Best singing that Diadkova has sung on this recording. Her tempi and subtleness with Verdi's writing is excellent. Alagna really understands Manrico. The latter is heard throughout this duet and the whole recording. Aside from the scoops and cries, he does a very good job. He has the instrument.

Conclusion: 3.75 stars out of 5. Chorus is EXCELLENT. I applaud: Ferrando, Conte and Manrico. Disappointed with: Azucena and Leonora. Interesting take on conducting I'll have another listen to make that decision. Enjoy!

Customer Rating:

Summary: Good but not good enough
Comment: I love this opera, but I was disappointed in this recording, especially the 2nd disc. I have really liked Angela Gheorghiu in her past recordings, but I felt she was trying to make her voice too dark at times which hindered her upper range during the soft passages. It sounds like too much "chest" in the higher register. Thomas Hampson is excellent. A 3D portrayal that made me feel sympathetic towards his Di Luna. He is a true artist who never over produces the tone. A beautiful spinning sound. A very sensitive portrayal. I really enjoyed Larissa Diadkova's Azucena. She does not have the beauty in her extreme upper register and at times becomes pushed. However, I really felt the energy and enjoyed her acting and the natural darkness of her voice. There were many times I like Roberto Alagna in this, but there were times he was over the top with too much tone. And, for me, his high C was held way too long with an obvious crack at the end. They should have redone the aria. I am surprised that the past reviews never mentioned this fantastic chorus. The orchestra and chorus are by far the stars of this production. I will continue to listen and enjoy this recording. It just isn't what I had hoped for and expected. If this is the way that Alagna and Gheorghiu are headed, I wonder how long their voices will last. I already hear quite an edge on Gheorghiu's voice that is very sad to hear. However, when she lightens her voice, it is quite beautiful. I enjoyed this production because of the intimate style all of the artists sang with. It was obvious that they were singing for interpretation and a sound booth instead of the stage. I found that refreshing.

Customer Rating:

Summary: Excellent
Comment: i am a fan to both Angela Gheorghiu and Roberto Alagna~ though i like Pavarotti a bit more (for tenor), but this is a recording i preferred most..... since for Thomas Hampson and Larissa Diadkova.... puls Gheorghiu and Alagna.... they are the ideal combintion of singers who sing Il Trovatore today~ they are all verdi experts~!!

though the recording of Pavarotti one is good.... but not all the singers did well.... when compare with this.... the singers appeared here is well balanced, technically~

and i don't know why i especially love the duets sung by Gheorghiu and Alagna.... not only their lovly voice, speciall kind of vocal quality and expressiveness. but personally, i preferred a couple like this to sing those love duets.... the real kind of love transfered from them to my heart~ to me, the "true" feeling impressed me much~

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