Alvis Hermanis’ controversial Il Trovatore from last year's festival returns this year in a revival which easily appears to eclipse the original.

Most significantly, the presence in the pit of Gianandrea Noseda reminds of the bel canto roots of this mid-Verdi warhorse with its infamously testing plot and prized hit numbers. Noseda brings a grand sweep to the evening, while maintaining a palette of fine detail and generous support for his cast, forming the foundation for a rewarding musical experience.

The staging - set in the halls of a fine arts museum in which contemporary protagonists (Leonore begins her venture here as a museum warden, while Azucena serves as a tourist guide in "Stride la vampa") become assimilated into the museum portraits to subsequently enact the drama in period dress - can barely claim success at resolving the work’s dramaturgical challenges.

Hermanis (as director and designer) does however create atmospheric tableaux through visually pleasing elements and colours which harmonise well with Verdi’s melodic score, even if rather leaving the protagonists to their own devices in stock operatic interaction and gesture. Eva Dessecker is responsible for a stunning parade of lavish period costumes for the entire ensemble, while Gleb Filshtinsky and Ineta Sipunova provided subtly effective lighting and video design.

Vocally and dramatically, the evening belonged to Ekaterina Semenchuk - new to the cast as Azucena, and who was rewarded with the most prolific ovation at the finale. The Russian mezzo not only brings ample vocal resources to the part (including an interpolated high B-flat and a single high C in Act 3 Scene 1- in the tradition of her great Italian predecessor, Fiorenza Cossotto) but furthermore near-consummate intonation and control throughout, combined with formidable dramatic instinct to kiss the role to life. Her final Act 4 scene, both preceding and including "Ai nostri monti ritorneremo" was compellingly moving, and arguably the highlight of the evening.

Returning as Leonora, Anna Netrebko boasts increased tonal weight, a fuller mid-range (possibly to some degree technically overblown), and the occasional hint of an Italianate chest note - while retaining the velvet timbre and gleaming top range which ever captivate her fans. Much of her vocalising has poise and considered effect, if not perhaps omphalic inspiration. She rejoices in Verdi’s long cantilene, but (particularly in ascending passages) falls repeatedly foul to intonation issues. (For example the scale work in "Di tale amor.. " in Act 1 Scene 2). In contrast, she presents a crisply accurate "Vivrà, contende il giubilo" in her final duet with Luna, while "D’amor sull’ali rosee" featured well executed trills - alas, however, ruptured from the melodic line and legato that the aria ideally demands. This Leonora is aloof - perhaps resigned to her fate from the opening bars, and while blemished, Netrebko nevertheless gives a performance to be reckoned with.  

In the title role, Francesco Meli presents a very credible and vocally respectable Manrico producing sufficiently ample ‘spinto’ moments to hold his own alongside his two female Russian colleagues, and making valiant efforts at combining his dramatic outbursts with lyricism and style. It is unfortunate that his vocal material is somewhat rough-hewn, lacking in inherent plasticity and seemingly - at times - disobedient to its master’s intent. The extreme top of the range tapers a little, making the much-awaited stretta, "di quella pira" less than quintessential - a minor issue however, in terms of this more-than-solid interpretation.

Plácido Domingo was originally cast last year as Il Conte di Luna - relinquishing the role after two of five scheduled performances to Artur Ruciński, who has thankfully returned for this year’s revival.
Cutting a rather dashing figure, the Polish baritone brings a cultivated line with exceptional control (in which two phrases are often taken in a single breath) in a rather slender but elegant baritone. Unfortunately significant notes above his passaggio (from E-flat upwards) lose focus rather than blossom.

Ferrando - a role too easily underestimated - was pointedly taken by the rather light-toned, but accurate, Rumanian bass Adrian Sâmpetrean.

Two member of Salzburg’s Young Singers’ Project, Bror Magnus Tødenes (Ruiz/Un mess), and Matthias Winckhler (Un vecchio zingaro) well seized their opportunities.

The Chorus (Konzertvereinigung Wiener Staatsopernchor) was in fine fettle - seemingly inspired by the direction from the pit, with both male and female sections stirring, finely-tuned and (in Act 2’s finale) ideally celestial.

Enrico Caruso reputedly once commented that a successful performance of Il Trovatore requires the four best singers in the world. He failed to consider the conductor - but fortunately in this particular respect, Salzburg was in safe hands on this occasion.