Verdi - Il Trovatore / Levine, Milnes, Marton, Pavarotti, Metropolitan Opera

The singing on this is beautiful but my favorite has horovesky playing the count. This one is a bit dated for those of us now used to opera singers who look like the characters

I've seen Il Trovatore performed many times, and I have several DVD copies. To me, this is the best version in terms of the singers and the staging.

I have to say that Il Trovatore is one of my favourite Verdi Opera's, with a great mix of drama and suspense, twinned with the most unlikely of story lines! There are ample opportunities for the musicians and artists to shine, and some did in this production!In particular, Dolora Zajick, much the best actor on the stage, gave a passionate and inspired performance as Azucena. She has a wonderfully resilient voice, and carried the role off superbly. I also enjoyed Sherrill Milnes' performance as the "evil" Count Luna. Milnes wouldn't be out of place as the baddy in one of those silent films twiddling his moustach! I found his powerful Baritone extremely convincing.Pavarotti's voice is as agreeable as ever, but as usual his acting lets the overall performance down. He spends most of his time rooted to the spot with a perplexed look on his face! Mind you, I suppose if you've escaped death by fire at the hands of your mad gypsy mother at the age of 1, you'd look worried too!Jeffrey Wells got better as he warmed up, but Eva Marton seemed totally out of place here with her "the louder you sing the better" approach. She was decidly flat in places, and didn't even attempt to sing some of the high notes, most noticeably at the end of act 1! The D'amour sull'ali rosee in scene 1 of act 4 is one of the most lovely solo's written by Verdi, however I'm afraid it was somewhat "brutalised" by Eva here, more subtley needed!The sets were quite atmospheric, although everything obviously happened at night as it was so dark throughout! The Met orchestra were well controlled as usual by James Levine, although it was difficult to hear the singers at times - you often find this with some of Verdi's more dramtic moments!

I am not crazy about this opera, but the DVD is very well done and is enjoyable to watch. I actually went to a live performance of this work many years ago and did not particularly like it at the time. This production (DVD) was easier to live through (in the comfort of my living room), but gave me no reason to change my original opinion of what I consider Verdi's "not so great' effort. If you like this opera, this DVD will give you great pleasure.

With a list of singers that includes Pavarotti, Milnes, and Marton, you'd expect a "production of the century."Pavarotti's voice is in its prime--it will dazzle you with its richness. The costumes are as lavish and appropriate as Pavarotti's superb voice.Despite negative remarks by some reviewers, Sherrill Milnes puts forth a fine singing performance with even better acting and tremendous stage presence.Yes, we all know that we are supposed to exercise our "suspension of disbelief," but Eva Marton is simply too large and old to portray the young Leonora that these gentlemen are fighting over. Dolora Zajick is scary and witchlike, which is exactly right for the gypsy woman.So, why isn't this the dvd performance of the century?One: The stage is constantly too dark. Really, it's hard to tell when there has been a change of the set, as it's simply too dark to tell the difference.Two: Leonora is miscast with Eva Maron. Not criticising Eva--she's very good in other roles she has sung. She's just not right for Leonora.Three: Too many cuts have been made, making it harder to follow the storyline because of minor but abrupt gaps in the action.It's still an enjoyable production, but it could easily have been much better.

4 outstanding singers needed to pull this opera off. Dire lack of true Verdi baritones for over 25 years makes this still the best DVD available.

As a production over all, this was definitely hard to stomach, an odd stage (though nothing too odd) and a dreadfully mismatched cast make it something I would not recommend.Eva Marton is well past her prime at this point (and why she continues to sing to this day confuses me). As she struts around the stage missing notes, pushing her notes so hard it seems like she's about to cry (or generally explode). Forgetting that there is something called subtlety, she plays a Leonora who can be pitied it's true, but only because she still thinks she can play this role. Admittedly Leonora is hard to cast, but Marton is dismal.Pavarotti seems off his game, I can't quite put my finger on it but he seems distant, almost like he's forgotten that others are on stage and that there's an audience at all. While all the notes are there his character seems to not be. He was alright, but nothing like what he can be. I'll admit though his "Di quella pira" was wonderful.I don't know Milnes work particularly well, but opposite Pavarotti he doesn't overshadow him, nor is he overshadowed. It's another average performance I suppose.The highlight of the show is Dalora Zajick. Absolutely stealing every moment of this show she's in. Had I not seen her perform this well in at least ten other shows I would believe this was the role she was born to play. Truly a master of the art, and alone almost enough to have me recommend this production.This was my first exposure to Il Trovatore, and it wasn't until I bought the Milo, Domingo, Zajick, Morris CD  Verdi: Il Trovatore  that I began to see it's true beauty so stained was I to the opera upon having seen this production first.In the end, an unfair representation of one of Verdi's greatest works. I don't know any other DVDs that are good, (though that's only because of lack of exposure) but the CD I mentioned before is excellent if you are interested in only the music, and I'd recommend that well before this.

alles bestens

本盤も1980年代の典型的なメト仕様 （徹底具象で金に糸目をつけない）｡それでもパバロッティは流石にこの役を得意とするだけに聞き応えはある｡マートンも第4場の暗い雰囲気に良くあっている。ただ伴奏はレヴァインのマンネリ化した指揮もあって盛り上がらない。それでも全体的な出来は新盤よりはかなり良い。

Review of Il Trovatore the Met 1988. Deutsche Gramophone. Marvellous. The combination of Luciano Pavarotti doing his singing statue bit and Sherrill Milnes as the guy you don't want to meet down a dark alley is great. What voices, even to my untutored ear.

Fantastic, I saw this opera when it was recorded for BBC2 many years ago and it has never lost its appeal. The cast gave stunning performances which can in my opinion never be bettered. I have seen many other performances live but for me this performance was the very best ever.

A wonderful performance. Samuel Ramey as the old king is superb but the rest of the cast are not far behind.

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