Review: 'Il Trovatore' lifted by great singing
The audience made an audible gasp as Jamie Barton, singing the role of the Gypsy Azucena in Verdi's "Il Trovatore," spat in the face of Count di Luna.
That moment, followed by the Gypsy's shriek as she was taunted by a fiery torch, ignited the blood-and-thunder drama which opened Cincinnati Opera's 95th anniversary season in Music Hall on Thursday.
A sensational cast of singers lifted an otherwise bland production of Verdi's "Il Trovatore" ("The Troubadour"). The gloomy set design, repurposed from a 2003 production of "Norma," matched the darkness of the tale. Set against the backdrop of the Spanish civil war, Verdi's tortuous masterpiece is one of complicated relationships, a terrible secret and horrific revenge.
With such a story, it demanded more than the static staging provided by Jose Maria Condemi. Neither was there very much chemistry between characters. But with its robust choruses –including the well-known "Anvil Chorus" – as well as great arias and stirring scenes, the singing is what mattered most.
Cincinnati Opera assembled a cast of magnificent voices for its central roles. And sing they did – with voices powerful enough to reach every corner of Music Hall's vast reaches.
As Leonora, who is the object of affection of both the Count and the troubadour, Julianna Di Giacomo made her company debut with luminous tone and emotional intensity. Di Giacomo, who has performed the role at the Metropolitan Opera, communicated with seamless line and effortless flights of coloratura, although her acting was stilted. Her most memorable moment came in the final act. Here, her fragmented lines, interrupted by the offstage "Miserere" of the chorus of monks as well as the troubadour's song, created wonderful atmosphere.
At the opera's center is the Gypsy, Azucena, who has seen her own mother burned at the stake. Thursday was Barton's first outing in this role, and it seems ideal for her out-sized, rich mezzo-soprano, with its arresting color in the lower range. She cast a spell as she wove her tale in "Stride la vampa," describing her mother's demise at the stake. Her Third Act scene with the Count was chilling, as she communicated heart-rending emotion as well as palpable terror for the fate she was facing.
And what a joy it was to hear the stunning tenor voice of Russell Thomas as Manrico. He sang consistently with ardent expression and spine-tingling high notes. His pairing with Barton was believable and magnetic. If only he had shared some of that chemistry with his love interest, Leonora.
Stephen Powell's Count di Luna was somewhat distant, although his lines were warmly sung. His famous aria, "Il balen" ("The flash of her smile") communicated his love for Leonora with touching emotion.
As Ferrando, the terrific bass Morris Robinson set the stage with his formidable presence and a voice to match. And Kathryn Leemhuis brought believable character to the role of Inez, Leonora's companion.
The chorus, prepared by Henri Venanzi, sang strongly and cleanly as Gypsies, soldiers and nuns. Director Condemi enlivened the crowd scenes, including an entertaining show of swordsmanship (Gina Cerimele-Mechley, fight director).
In the pit, the Cincinnati Symphony Orchestra sounded oddly anemic and slow-paced in the evening's first half. Cristian Măcelaru, also making his company debut, was a sensitive accompanist. Fortunately, his momentum picked up in the final two acts. The orchestra's playing was immaculate.
Cincinnati Opera's "Il Trovatore" repeats at 7:30 p.m. Saturday June 20 in Music Hall. Tickets: 513-241-2742, www.cincinnatiopera.org.