Verdi: Le Trouvère

1. Il Trovatore, opera
   Composed by Giuseppe Verdi
   with Jean Note, Leon Escalais, Juste Nivette, Robert Marvini, Charles Fontaine, Ketty Lapeyrette, Jane Morlet, Marie Ganteri, Lucette Korsoff
   
   

Verdi: Le Trouvère,Giuseppe Verdi,Marie Ganteri,Ketty Lapeyrette,Robert Marvini,Juste Nivette,Charles Fontaine,Marston,Classical,Classical Music,Italian Romantic Opera,Opera,Opera / Operetta / Oratorio

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Average customer rating: Thank you, thank you, thank you! A blessed recording! Hampson is as great as Fischer-Dieskau, and just as wrong for Verdi Hampson Shines in Exploring The Baritone Repertoire Verdi by the best of Lyrics - 3.5 Stars How can a lyric Bariton sing Verdi,

Verdi: Opera Arias Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Hampson, Thomas | ( H ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Arias | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music ASIN: B000058BGP Release Date: 2001-04-10

Tracks:

1. Macbeth: Perfidi! All'anglo contro me... Pieta, rispetto, amore (Atto IV)
2. Ernani: Ascolta... O dei verd'anni miei (Atto III)
3. I due Foscari: Eccomi solo alfine... O vecchio cor (Atto I)
4. Il corsaro: Alfin questop corsaro... Cento leggiadre vergini (Atto III)
5. Il trovatore/Le Trouvere: Tout est desert... Son regard (Acte II)
6. Les Vepres sicilennes: Oui, je fus bien coupable... Au sein de la puissance (Acte III)
7. I masnadeieri: Tradimento... Pareami che sorto... Armata la prima (Atto IV)
8. Stiffelio: Ei fugge... Lina, pensai che un angelo (Atto III)
9. La traviata: Di Provenza il mar...Ne rispondi... No, non udrai rimpoveri (Atto II)
10. Giovanna d'Arco: Ecco il luogo... Speme al vecchio (Atto II)
11. Macbeth: Ove son io?... Vada in fiamme (Finale, Atto III)

Amazon.com

Thomas Hampson is one of our most admired baritones, expert in lieder and a range of operatic roles, primarily from the German and French repertories. So it's something of a surprise to find him featured on a disc of Verdi's brilliant high-baritone arias. The result is a beautifully sung, carefully prepared program that should impress Hampson's fans with his vocal acumen and adventurous spirit, but may leave many Verdians pining for the broader, more Italianate voices that have traditionally excelled in these roles. The problem is compounded by the focus on early- and middle-period operas, which benefit from a burlier, less subtle approach. That said, there's much to enjoy here, from the admirable Macbeth arias (with "Pietá, rispetto, amore" taken in one arching phrase without a break for breath) to the rarely heard French versions of arias from Trovatore and Sicilian Vespers. --Dan Davis

Customer Reviews:

Thank you, thank you, thank you! A blessed recording!.......2006-09-13

I am nuts about this recording. I don't care what anyone else says about this recording, it is simply magnificent and gorgeous. The American baritone, Thomas Hampson, is not only a great golfer, but a fabulous singer and I simply adore his Verdi.

The Orchestra Of The Age Of Enlightenment is in excellent form here. The sounds of strings, sans vibrato, and the colours from the brass and woodwind are just splendid.

Thomas Hampson has chosen some well known arias and less well known arias for this recital. It is a great mix of the familiar and unfamiliar - I like this approach. Hampson's voice is warm, rich and manly.

I listen to this disc a lot! At all times of the day.
You should buy it, shouldn't you!?

Hampson is as great as Fischer-Dieskau, and just as wrong for Verdi.......2006-07-18

Greatly talented singers are justified (almost) in believing that they can sing anything. In his native Germany Fischer-Dieskau sang, and sometimes recorded, roles like Rigoletto, but his voice wasn't right. No amount of artfulness can turn an Isolde into a Pamina, or in Thomas Hampson's case a fairly cerebral American into a red-blooded Italian. Hampson sounds out of place in every aria here, even though his voice owns all the notes.

He strains and pushes to sound macho, if not exactly passionate, and as a result the melodic line becomes forced. Verdi depends above all on naturalness. Hampson isn't convincing in moods of rage, revenge, defiance, or tragic sadness. Nor is he helped by filling this recital with obscure arias unknown to all but the most specialist opera collectors. Strangely, he decided to make a follow-up Verdi recital due out this summer. Sorry, but this one is a miss.

Hampson Shines in Exploring The Baritone Repertoire.......2005-08-01

This is a collection of Verdi arias sung by the world-renown and ever talented baritone, Thomas Hampson. Mostly known for his lieder, art song, and lyric roles, on this CD the American ventures into the lower and arguably more difficult registers of the dramatic baritone. As the other reviews noted, Thomas Hampson is NOT a dramatic baritone, he is a lyric baritone. So if you're looking for something truer to the dramatic style, then go for a Hvorostovsky, Bruson, Merrill, Milnes, Alvarez, Warren, Chernov, or even Cappuccilli. You won't find those singers here. What you WILL find, though, is a different way of seeing (hearing) some of the arias you're used to, a different perspective---remember, Hampson is one of the most sought after singers on stage today, so he knows how to put emotion and gusto into his music. Though he may not be the perfect example of what a dramatic baritone should be, I think that you'll be pleasantly surprised here.

Hampson doesn't disappoint with the start (and finish) of the album: two arias from Macbeth with which he displays his vocal talents and also his ability to insert his acting into his singing---anger, remorse, sadness, delusion, and vendetta. Selections from some earlier and lesser known works of Verdi follow, a beautiful aria from Ernani and a romanza from I Due Foscari, which was the first time I'd heard it, and I was amazed by how well Hampson pulled it off. Next follows the aria of the Conte di Luna from Il Trovatore---sung in the French version; two things happen with this aria and with the later track of "Di provenza, il mar" from La Traviata: in the first, Hampson sings the French version, which is rare on recital albums, and in the Traviata aria, we get to hear the even more rarely added cabaletta that follows from Pere Germont. So not only do we get to hear a different voice singing some of Verdi's more famed baritone pieces, but we also get something a little "different" on almost each track, something that you won't find compiled elsewhere.

The Orchestra of the Age of Enlightenment play very well, never drowning out Hampson, and conductor Richard Armstrong keeps true to tempi that suit the singer very well. In my opinion, the more open-hall recording of these arias are more authentic to what you hear in an opera house than some other closed studio style albums.

You'll get another perspective and find something new with Hampson than you would with your other dramatic baritones. But there's no way to deny that even having the talent to venture into the area Hampson does on this CD is a huge accomplishment. Not only does he try, but he succeeds. Great singing, great vocal acting, good orchestra, and a chance to hear some Verdi that you normally wouldn't. Not bad, if you ask me. Buy this one.

Verdi by the best of Lyrics - 3.5 Stars .......2005-03-18

Hampson is one of the best lyric baritones out there - I have countless cd's of his. I believe he is one of today's most convincing Mahler interpreters and a master singer of Mozart's best baritone roles. I have to say, however, that this album is not the best representative of his instrument, or rather "Verdi-an" singing. It's darn good opera, folks, but I just don't think Hampson is the ideal Verdi baritone, try as he may to convince us otherwise.
Hampson's voice is so honeyed and warm - it is sumptous and inviting, he pours through the legato lines lovingly - it's just that his physical instrument lacks the bite and ring of steel that a true Verdi baritone possesses.
This collection is beautiful and it is nice to hear him more than competently ride the challenging lines of the Count in Trovatore, the lovely melody of Papa Germont, and others, it just isn't the best representation of Verdi's music.
Stick with Warren, Milnes, Merrill, Nucci, and Gobbi for the best representation of the Verdi Baritone: warm and trumpeting voices. But if you're a big Hampson fan, like me, buy this, too, to hear a wonderful baritone singing some incredible music.
This album reminds me of listening to Fischer-Dieskau's recordings of Verdi - highly intelligent, lush and lyrical singing, but slightly boring for the auditor.
Sadly, there is a real lack in the world of Verdi/Puccini male specialists in the studio world today - as amazing as Mr. Hampson is as an artist, it is sad that this album mainly serves to remind us of that fact.

How can a lyric Bariton sing Verdi,.......2001-11-25

I listen to this record quite often. This is a very beatifull preformence who show that Hampson has grew some oomph and glamouros it shows that He added some "new note in the buttom of his voice",and in the agitated part when verdi give us the stormy whether he actualy sounded like thunder (treak 7, tradk 11 et cet.) The macbeth role for instant is a definatly dramatic role (I heard renato bruson does it and renato bruson is a very dramatic singer in the preformence of the macbeth he sound even like a bass bariton)
Hampson is stil a liryq bariton and he give to both of the arias also the lack of backbone that practicly caracterize macbeth.
(don't forget that his wife is driving him to do it). Per germont sang like a loving father who want the best for his children and that in my opinion is realy per germont. Don't forget that in those days marring a prostitute (like traviata) had a bad reflection on the familly and it might destroy his doughter happiness. Don't forget that he give tham the ability to be reunited. The rest of the songs are lovely. As The pasha he sound a geulos lover, as the luna he sound loving and posesive. Hampson show us a lot of sensetivity and make us pitty those "bad guys". The french version of the aria of di luna is mutch mor gentel than the intalian probably becouse french is more gentil. As monfort witch I belive practicly sits on him he sound soft and tugh and very relaible as a father. The beatiful aria of dies irea in the seventh track is simply frighting I see it as Verdi's work shop toward the fate arias of the operas to come and ofcourse the unforgetable dies irea chapter in his requiem. Hampson transferd to us the fear that filled francesco from that nightmare he have. Hampson treat those aria whith the same thender loving care of the other things he does, and the result is superb. The orchestra acompanies him and fletered his noughty timber and musiceanship. It did not bother me that he is sound as if he is behind the orcherstra becouse that the way a singer do it in operas.
NOte : i saw yesterday a docomentry program about "Verdi's life tole by Thomas Hampson. Hampson in this broadcasting talk a bout the problem Verdi has in maring his secound wife who was an Opera singer and the Italian public saw it as a scandal becouse she had many love afairs and 3 pregnancies with no marrige.

Average customer rating:

Verdi: Le Trouvère Giuseppe Verdi , Marie Ganteri , Ketty Lapeyrette , Robert Marvini , Juste Nivette , and Charles Fontaine Manufacturer: Marston ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music ASIN: B00004YX2T Release Date: 2000-10-10

Tracks:

1. Act I: Alerte! Qu'on Veille - Robert Marvini
2. Act I: Parait A Ses Regards (Abbietta Zingara) - Robert Marvini
3. Act I: Son Pere? - Robert Marvini
4. Act I: Qui Vous Arrete?...La Nuit Calme Et Sereine (Tacea La Notte) - Jane Morlet/Marie Ganteri
5. Act I: Pour Moi Celeste Ivresse - Jane Morlet/Marie Ganteri
6. Act I: La Nuit Est Calme...Exile Sur La Terre (Deserto Sulla Terra) - Jane Morlet/Jean Note/Charles Fontaine
7. Act I: Ah! Quelle Erreur - Jane Morlet/Jean Note/Charles Fontaine
8. Act II: Le Jour Renait - Ketty Lapeyrette
9. Act II: La Flamme Brille (Stride La Vampa!) - Ketty Lapeyrette
10. Act II: Nous Voila - Ketty Lapeyrette/Charles Fontaine
11. Act II: J'Etends Ma Main Tremblante - Ketty Lapeyrette/Charles Fontaine
12. Act II: Au Milieu De La Carriere (Mal Reggendo) - Ketty Lapeyrette/Charles Fontaine
13. Act II: Un Messager Vers Nous S'avance - Ketty Lapeyrette/Charles Fontaine
14. Act II: Tout Est Desert...Son Regard, Son Doux Sourire (Il Balen) - Jean Note/Robert Marvini
15. Act II: Qu'entends-je, O Ciel - Jean Note/Robert Marvini
16. Act II: L'exil Est Sur La Terre - Jane Morlet
17. Act II: Pourquoi Pleurer? - Jean Note/Robert Marvini/Jane Morlet/Marie Ganteri
18. Act II: O Ciel! Manrique, Est-ce Bien Lui - Jean Note/Robert Marvini/Jane Morlet/Marie Ganteri
19. Act II: Oh! Ce N'est Pas Du Ciel Un Reve - Jean Note/Robert Marvini/Jane Morlet/Marie Ganteri
20. Act III: Les Des Ont Pour Nous Des Charmes - Robert Marvini
21. Act III: Oui, Demain La Fete - Robert Marvini
22. Act III: Ballet 1 - Francois Ruhlmann
23. Act III: Ballet 2 - Francois Ruhlmann

Tracks:

1. Act III: Dans Les Bras D'un Rival - Ketty Lapeyrette/Jean Note/Robert Marvini
2. Act III: Je Vivais Pauvre Et Sans Peine - Ketty Lapeyrette/Jean Note/Robert Marvini
3. Act III: Quel Est Ce Bruit Lointain...O Toi, Mon Seul Espoir (Ah Si, Ben Mio) - Charles Fontaine/Jane Morlet
4. Act III: S'Il Faut Que Je Succombe...Supplice Infame (Di Quella Pira) - Jane Morlet/Charles Fontaine/Robert Marvini
5. Act IV: C'Est La, Vioci La Tour - Jane Morlet/Louis Nansen
6. Act IV: Brise D'Amour Fidele (D'Amour Sull'ali Rosee) - Jane Morlet
7. Act IV: Miserere, Pitie Pour Notre Frere - Jane Morlet/Charles Fontaine
8. Act IV: La Mort M'Environne - Jane Morlet/Charles Fontaine
9. Act IV: C'est L'ordre Que Le Fils Soit Puni Par La Hache...Grace, Contemple Mes Douleurs... - Jane Morlet/Jean Note
10. Act IV: Comte!...Arriere! - Jane Morlet/Jean Note
11. Act IV: Mere, Tu Dors - Ketty Lapeyrette/Charles Fontaine
12. Act IV: Ah! Que D'un Fils Un Tendre Parole... Oui, La Fatigue A La Fin M'excede (A Nostri Monti) - Ketty Lapeyrette/Charles Fontaine
13. Act IV: Quoi! Qu'ai-Je Vu? - Jane Morlet/Charles Fontaine
14. Act IV: Arriere! Quel Martyre! - Jane Morlet/Jean Note/Charles Fontaine
15. Act IV: Miserere, Priez Pour Notre Frere - Ketty Lapeyrette/Jane Morlet/Jean Note/Charles Fontaine
16. Act I: Parait A Ses Regards - Juste Nivette
17. Act I: La Nuit Calme Et Sereine - Lucette Korsoff
18. Act III: Supplice Infame - Leon Escalais
19. Act IV: Brise D'amour Fidele - Marcelle Demougeot
20. Act IV: C'est L'ordre Que Le Fils Soit Puni Par La Hache...Grace, Contemple Mes Douleurs... - Lucette Korsoff/Henri Danges

Average customer rating:

Verdi: Le trouvère (Highlights) Manufacturer: Malibran [C.D.R.G.] ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music ASIN: B00004YLIK Release Date: 2000-09-19

Average customer rating: Intérêt limité For the Verdian who has everything!

Verdi: Le Trouvère Giuseppe Verdi , Marco Guidarini , Warren Mok , Iano Tamar , Orchestra Internazionale d'Italia , Bratislava Chamber Choir , Nikola Miljailovic , and Sylvie Brunet Manufacturer: Dynamic Italy ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music ASIN: B00000IMTW Release Date: 1999-04-01

Tracks:

1. Act One: Alerte! - Bratislava Chm Chor/Pavol Prochazka
2. Act One: Parait A Ses Regards - Jae-Jun Lee
3. Act One: Son Pere! - Bratislava Chm Chor/Pavol Prochazka
4. Act One: Dans Les Lieux Funebres - Bratislava Chm Chor/Pavol Prochazka
5. Act One: Qui Vous Arrete? - Angela Masi
6. Act One: La Nuit Calme Et Sereine - Iano Tamar
7. Act One: L'amour Arent, L'amour Subline - Iano Tamar
8. Act One: La Nuit Est Calme... Exile Sur La Terre - Nikola Mijalovic/Warren Mok
9. Act One: Ah! Quelle Erreur - Iano Tamar
10. Act One: De Fureur Et De Jalousie - Nikola Mijalovic
11. Act Two: Le Jour Renait - Bratislava Chm Chor/Pavol Prochazka
12. Act Two: La Flamme Brille - Sylvie Brunet
13. Act Two: Que La Chanson Est Triste - Bratislava Chm Chor/Pavol Prochazka
14. Act Two: C'est La Qu'ils L'ont Trainee - Sylvie Brunet
15. Act Two: Je Ne Suis Pas Ton Fils! - Warren Mok
16. Act Two: Au Milieu De La Carriere - Warren Mok
17. Act Two: O Mon Fils, Toi Que J'adore - Warren Mok
18. Act Two: Tout Est Desert - Nikola Mijalovic
19. Act Two: Son Regard, Son Doux Sourire - Nikola Mijalovic
20. Act Two: Qu'entende-Je, O Ciel! - Nikola Mijalovic
21. Act Two: L'exil Est Sur La Terre - Bratislava Chm Chor/Pavol Prochazka
22. Act Two: Pourquoi Pluerez? - Iano Tamar
23. Act Two: O Ciel! Manrique Est-ce Bien Lui - Iano Tamar
24. Act Three: Les Des Ont Pour Nous Des Charmes - Bratislava Chm Chor/Pavol Prochazka
25. Act Three: Que La Trompette Aux Accent Belliques - Bratislava Chm Chor/Pavol Prochazka
26. Act Three: Pas De Bohemiens - Orch Internazionale D'Italia/Marco Guidarini
27. Act Three: Gitanilla - Orch Internazionale D'Italia/Marco Guidarini

Tracks:

1. Act Three: Ens - Orch Internazionale D'Italia/Marco Guidarini
2. Act Three: Sevillana - Orch Internazionale D'Italia/Marco Guidarini
3. Act Three: La Bohemienne - Orch Internazionale D'Italia/Marco Guidarini
4. Act Three: Galop - Orch Internazionale D'Italia/Marco Guidarini
5. Act Three: Dans Les Bras D'un Rival - Nikola Mijalovic
6. Act Three: Je Vivais Pauvre Et Sains Peine - Sylvie Brunet
7. Act Three: Ah! Barbares, Laissez-Vous Toucher - Sylvie Brunet
8. Act Three: Quel Est Ce Bruit Lointain - Iano Tamar
9. Act Three: O Toi, Mon Seul Espoir - Warren Mok
10. Act Three: Entends Ces Chants Religieux - Iano Tamar
11. Act Three: Supplice Infame - Warren Mok
12. Act Four: C'est La... Voici La Tour - Philippe Casado
13. Act Four: Brise D'amour Fidele - Iano Tamar
14. Act Four: Miserere - Bratislava Chm Chor/Pavol Prochazka
15. Act Four: C'est L'ordre - Nikola Mijalovic
16. Act Four: Grace Contemple Mes Douleurs - Iano Tamar
17. Act Four: Sauve! Sauve! Bonheur Divin! - Iano Tamar
18. Act Four: Mere Tu Dors! - Warren Mok
19. Act Four: Qui, La Fatigue A La Fin M'excede - Sylvie Brunet
20. Act Four: Quoi Qu'ai-Je Vu - Warren Mok
21. Act Four: Reponds... Reponds! - Warren Mok
22. Act Four: Arriere! - Warren Mok
23. Act Four: Plutot Que Vivre Et Te Trahir - Iano Tamar

Customer Reviews:

Intérêt limité.......2007-02-04

"Il Trovatore" fait partie avec "Carmen" de ces opéras que tout le monde aime et une publication de la version en français ne pouvait qu'être atendue par certains. Malheureusement, il s'agit d'un enregistrement du festival de Martina Franca réalisé par le label Dynamic. On ne sait jamais trop, avec les organisateurs de ce festival, jusqu'à quel point les féliciter et à partir de quand leur donner de copieuses paires de claques. Et là, nous avons les mêmes défauts que d'habitude qui feront que cet enregistrement ne dépassera pas le stade de curiosité. Première chose quand on reprend une oeuvre en français alors que les enregistrements en italien sont pléthore, on prend des chanteurs français. Là, nous n'avons que Sylvie Brunet pour le rôle d'Azucena. Le reste ? La pâtée habituelle bien connue dont nous régalent de nombreux chanteurs pour qui les langues ne sont qu'un détail. Ceci est aussi valable pour le choeur, des Slovaques à qui on a envie de payer urgemment des cours à l'Alliance française. Quant à l'orchestre, plat et ennuyeux, il ne s'en sort pas mieux. Les vingt minutes de ballet, qui sont le grand intérêt de la version française par rapport à l'italienne, sont de ce point de vue-là insupportables. Je ne parle pas non plus de la prise de son, étouffée avec de nombreux bruits de scène ou d'orchestre, bien clairs eux. Bref, le seul mérite de ce disque est qu'il existe et que l'on peut se faire une petite idée de cette version. Par contre le prix du neuf demandé par le label Dynamic n'est pas vraiment raisonnable.

For the Verdian who has everything!.......2006-06-15

In 1939, the editor of an anthology of Italian opera librettos wrote: "There is no one
Italian composer who stands out as Wagner does among the Germans. Verdi, of course, is
the most important... But only a few of his operas have retained their popularity." At that
remote era, fully half of Verdi's operas were little more than names tucked away in
reference books, and it's probable that even most Verdi scholars of the day had never
heard them performed. They were always quick to "explain" why those operas were such
failures.

Now, many decades later, Verdi's stature has risen to the point where he is fully on
a par with Wagner, and it's hard to find any of this master's works that haven't appeared
on discs. Thus we have recordings (both live and studio-made) of every one of his 26
operas, not to mention the earlier versions of the operas that he extensively revised, those
that he adapted into new operas altogether, LES VEPRES SICILIENNES and DON CARLOS in the
original French, separate recordings of his overtures and ballet music... With all that, is
there still anything by Verdi that the world has yet to hear?

The answer to that question (until now, that is) has been yes -- and it involves not
an obscure opera, but one of Verdi's best-known and best-loved works, IL TROVATORE. In
January 1857, when it was still fairly new, that opera was staged by the Paris Opera as LE
TROUVÈRE, in a French translation by Pacini. But the language was not the only thing that
was different about it -- Verdi had made some changes in the music as well, and now, thanks to the
present recording, we can finally hear just what that revised but hitherto little-known
version sounds like.

I can only presume that this performance is given uncut -- I don't have access to a
score to verify this, and for that same reason, I can't vouch for all the changes in the
orchestration. But the following are some of the more obvious differences that we
"experts" will notice as we listen to these discs.

The end of Leonora's Act I cabaletta "Di tale amor" ("L'amour ardent") is entirely
different, as are parts of the Azucena-Manrico duet in Act II (Azucena's cadenzas and "Un
momento puo involarmi"/ "Cet instant pour moi suprême"). The Act III soldiers' chorus
"Squilli, echeggi la tromba guerriera" ("Que la trompette aux accents belliqueux") is a little
shorter than the version we all know, and leads into a lengthy round of ballet, during which
a troupe of gypsies entertain the soldiers (a sort of 15th-century USO!). We can recognize in
it some familiar tunes from the Anvil Chorus, and no doubt the soldiers (and the Paris
audience) enjoyed it! Later in the scene, after Azucena finishes singing "Giorni poveri
vivea" ("Je vivais pauvre et sans peine"), she also gets to sing the plaintive tune that we
normally hear only as an orchestral backdrop to the confrontation going on between her
and the Count. In Act IV, there's no "Tu vedrai che amore in terra" -- but that's usually
cut anyway! And the opera ends entirely differently. After Leonora's death, as Manrico
goes to his execution, we hear a short reprise of the "Miserere" ensemble, with Azucena
taking Leonora's part. Whew!

This recording is of a live performance, so from time to time one hears rounds of
applause. The Orchestra Internazionale d'Italia, led by Marco Guidarini, plays quite well,
but the no-name singers are variable. Iano Tamar, as Leonore, sounds almost in over her
head; her voice seems a little too "heavy" for some of the more agile passages, but I'll give
her an A+ for effort! Likewise, we get good efforts from the other principals: Sylvie Brunet
(Azucena), Warren Mok (Manrico/Manrique), Nikola Mijalovic (le Comte de Luna), and
Jae-Jun Lee (Ferrando/Fernand). At times, they all have problems with intonation. I'm
afraid I've never been as adept as other reviewers at judging singing -- I've always
concentrated more on the version of the work in question, and how it differs from other
versions. All the same, this is a recording well worth having, and it adds a whole new
dimension to a wonderful opera that we all thought we knew backward and forward.
Included is a libretto booklet, with the customary erudite article in four languages. We can
hope now that some enterprising record company will see the value of this verson of TROVATORE and
bring out a studio-made recording with world-class artists in the lead roles. But for now --
if you love Verdi, then go for it!

Now... How about a recording of the original version of LA TRAVIATA, the one that
failed so miserably on its opening night in Venice, before Verdi refashioned it into the
version we all know so well?

(One small footnote: when Richard Bonynge recorded IL TROVATORE some years ago,
he used some of the Paris variations that are evident in this recording, though sung in
Italian. His wife, La Sutherland, tossed off the alternate ending of "Di tale amor" with the
greatest of ease, and of course Tamar's performance suffers in comparison. The LP of that
recording also included the ballet music, but I understand that it's omitted from the CD
reissue.)

Meditation Music:

1. Verdi: Un ballo in maschera
2. W.S. Gilbert/Arthur Sullivan: The Yeoman Of The Guard Or The Merryman And His Maid
3. Wagner: Arias & Incidental Music
4. Wagner: Lohengrin WWV75; Meistersinger von Nürnberg WWV96
5. Wagner: Lohengrin WWV75; Tristan und Isolde WWV90
6. Wagner: Tannhauser (Highlights)
7. Wagner: Walküre WWV86b; Tristan und Isolde WWV90
8. World of Pavarotti/Various [Import]
9. Aida: Greatest Hits
10. Ambroise Thomas: Mignon

Meditation Music

meditation music

Meditation Music

Swimming & Singles [Import]

Blavet: Sonates pour flûte et basse continue, Oeuvre 2

Aquarius-Memorial

Music: Q: Are We Not Men? A: We Are Devo!

Blues Project [Import]

Best of Gay Happening, Vol. 1 [Import]

California Celtic

Arc Angels

Anonymous Days [Import]

Anthology: Summer Day Reflections [Import]

Behind the Crimson Veil

Ao Vivo [Live] [Import]

Bazaar Ride to the Pharcyde

Puppy at the Table

Wham Bam! The Best of the Googie Rene Combo