Today was the simulcast of Giuseppe Verdi's opera Il Trovatore. This story centers around two brothers who are separated as young children. They meet again decades later, and not only do they not recognize each other, but they are also in love with the same woman. Add to the mix a Gypsy whose obsession with revenge has left her a few bricks shy of a load, and you've got one heck of a crazy tale.
Finally, five years after making his debut at the Met proper, Korean tenor Yonghoon Lee makes his first appearance Live in HD in the title role of the troubadour Manrico. Russian baritone Dmitri Hvorostovsky steps into role of Manrico's rival (and long-lost brother) the Count Di Luna. Soprano Anna Netrebko, who has been kicking off Live in HD series for the past five years or so, is Leanora, the noblewoman over whom the men are fighting. And mezzo-soprano Dolora Zajick is Azucena, the half-mad Gypsy woman whose one goal in life is to avenge her mother's death (and she's also Manrico's foster mother, go figure).
This production by Sir David McVicar resets the story from the 15th Century the late 18th Century, and is inspired by various paintings by the artist Fransisco Goya.
In Act One the current Count Di Luna's second-in-command Ferrando tells his men how many years ago, a Gypsy woman managed to get inside the nursery in the old count's castle and was caught bending over the cradle of the count's infant son. The baby got sick and the woman was charged with witchcraft and burnt alive at the stake. Afterwards the baby disappeared and some time later a child's charred skeleton was found among the ashes at the execution site. The current count still looks for his brother, refusing to believe he is dead.
Leanora is awaiting a tryst with the troubadour who has been serenading her every night. Di Luna enters and in the darkness Leanora mistakes him for Manrico. Manrico enters and he and Di Luna duel.
In Act Two we get the famous Anvil Chorus. The Gypsies forge weapons and sing about love while Azucena has a flashback to her mother's execution. Manrico has been wounded in battle and is presumed dead. Azucena tells him of her mother's execution and dying command to avenge her death. Azucena kidnapped the count's son and planned to throw him into the flames, but in a moment of confusion threw her own son in by mistake. This confuses Manrico, but Azucena dodges his questions. A messenger tells Manrico that Leanora has believed rumors of his death and is about to take the veil. Manrico rushes off to prevent her from doing so.
Outside the convent, Di Luna sings of his love for Leanora, and also wishes to prevent her from becoming a nun. Just as the ceremony begins to progress, Di Luna and his men attack hoping to steal Leanora away. At the same time Manrico and his men enter and Leanora runs away with him.
Act Three has Azucena being captured by Di Luna's men and Ferrando recognizes her as the woman who kidnapped Di Luna's brother decades ago. Di Luna orders her execution by burning alive.
Manrico and Leanora are preparing for their wedding when Manrico's second-in-command Ruiz informs him of Azucena's impending execution. Horrified and furious, Manrico rushes to her aid.
When Act Four opens, Manrico rescue attempt has failed and both he and Azucena await execution. A desperate Leanora offers herself to Di Luna in exchange for Manrico's freedom, but secretly swallows poison so that she will remain faithful to Manrico.
Manrico tries to comfort Azucena who is having flashbacks again. Leanora enters and tells Manrico that he is free. He figures out what price she offered and curses her, but the poison is already taking effect. Leanora tells Manrico the whole truth and dies in his arms. Furious at being deceived, Di Luna send Manrico to the scaffold, only for Azucena to triumphantly declare that Manrico was Di Luna's brother and that her mother is avenged.
Let me start with the obvious two first.
For the past couple of years I have been dying to see Yonghoon Lee live, and today I finally got that chance. What a superb singer and actor! The way he did the role was just so amazing, and I could not get enough of him. His chemistry with Anna, Dolora, and even Dima was just superb. I love how he always gets this tormented expression on his face when he sings; it makes his performance all the more passionate. And I think no where was his talent more apparent than when he sang the famous aria "Di Quella Pira" at the end of Act Three.
Dima is certainly a trooper in this performance. After having battled a brain tumor over the summer, he showed such amazing stamina in this very demanding role of the Count Di Luna. He has sung this role Live in HD before, and it was interesting to hear him do it again. I swear, this performance may as well have been a tribute performance for him after what he's gone through. The moment he made his first entrance, the orchestra was just beginning the first notes of the entrance and the audience just burst into applause. And at the end of the opera during the curtain call, not only did he get a hug from Yonghoon, but the orchestra folks threw white roses at him!
Now onto the others.
This is Anna Netrebko's second major Verdi role (last year she sang the murderous Lady Macbeth). I think this role fits her very well. It can be argued that it is a throwback to when she primarily did the bel canto repertoire (as Il Trovatore is sometimes called the last great bel canto opera). I think her best scene was in Act Four when she confronts Di Luna and offers herself to him in order to release Manrico (then again that scene always makes me smile).
Dolora Zajick has owned the role of Azucena at the Met for over two decades. She is so amazing with this role, that I can't imagine another mezzo doing this one. I loved how she portrayed this woman whose desire for revenge has twisted her mind to the point of madness. I think her best scene is her entrance aria in which she recalls her mother's death at the stake. She really should do this one again.
This opera is a must-see for anyone who is new to the art. Verdi's music is just spell-binding, and worth hearing over and over again.
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