REVIEW: Il Trovatore

Posted by arts_reviews

Posted: February 3, 2008 - 12:37 am

YOU BE THE CRITIC
Caroline Streff: Photo: Emily Blahous
Middle Lake Middle School 8th grader Caroline Scheff was blown away by "Il Trovatore." Read her comments and add your own below.

Adina Aaron: Leonora
By Mike Dunham

I do not remember hearing four such enormous voices in the Discovery Theatre as those possessed by the principal quartet in the current production of “Il Trovatore.” They amply filled the house to my back-row seat; they remained audible over the orchestra — for which conductor Gerald Steichen deserves a share of the credit.

All four are genuine, natural, fully-qualified Verdians, maybe a first for Anchorage: pitches accurate, phrasing comfortable yet dramatic; and, while none quite had the superhuman breath control to match their power, all maintained a high level of energy in grueling scene after grueling scene.

Adina Aaron’s Leonore was particularly beautifully sung. Whether she floated her high notes or gunned them, the sound was smooth and whole. Translation for non-opera buffs: this soprano is never screechy.

Gustavo Lopez Manzitti’s clarion tenor made Manrico all the more heroic, coming through like a bell even when he sang off stage. “Di quella pira” was taken a real allegro rather than an affected bolero pace, which stirred up some excitement, though it didn’t raise the roof.

Anton Belov: Count di Luna
Anton Belov’s firm yet flexible baritone gave the bad guy, di Luna, a believable humanity. It’s a big, gorgeous instrument, beguiling in solo scenes, comfortably blending in ensembles.

Victoria Livengood, who sang Azucena, had the most impressive resume of the company, with Met appearances and a reported 200+ Carmens under her belt. Her vibrato seemed wide at first — I think I counted a single held noted coming out at tied triplets in “Stride la vampa” — but tightened by Act III. In the same scene she demonstrated what I mean about an abundance of vocality in this production when her voice topped not only the orchestra, but the whole men’s chorus backing her.
Victoria Livengood: Azucena
The risk of having consistently big voices on stage is a loss of nuance; I, for one, am willing to put up with it. This was not the best acted piece we’ve seen from Anchorage Opera; Matthew Lata’s direction repeatedly felt static and sometimes a little superfluous. But it never countered the flow of the musical drama, and from the standpoint of the collective musicality of the stars, this “Trovatore” has not been surpassed by the company.

The orchestra played quite well with only some slight intonation questions late in the show. The chorus needed to have more members to supply the punch this opera requires, but in a town this size at this point in history, that will not be easy.
Gustavo Lopez Manzitti: Manrico
Peter Harrison’s substantial sets, heavy on rock/wall imagery with a few surprises tossed in, were dark, geometric, somewhat expressionist and quickly switched with the scenes. The stage fire and Oreo moon may have been overtly fakey, but for heaven’s sake — suspend a little belief, theater-goers. Costumes were vintage 1300s, but handsome with the exception of Azucena’s wig.

Lauren MacKenzie Miller’s lighting went far toward maximizing the effectiveness of the sets; particularly in the final moments. Early on, in the Anvil Chorus, sparks flew from the struck anvils in time with the music.

The 3 hour show continues with performances at 7 p.m. on Wednesday, 8 p.m. on Friday and 4 p.m. on Sunday. (Information at anchorageopera.org.) For me, it’ll be worth going back just for Aaron’s “Miserere” scene in the last act.

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