IL TROVATORE
Giuseppe Verdi (1813 - 1901)
Opera in four acts in Italian
Libretto: Salvatore Cammarano from Spanish drama of the same tittle by Atonio Garcia Gutiérrez
Premièr at Teatro Apollo, Rome – 19 January 1853
Premièr at Teatro Apollo, Rome – 19 January 1853
12†, 14 November 1964
Municipal Auditorium, New Orleans
Conductor: Knud Andersson
Chorus master: Knud Andersson
Stage director: Tito Capobianco
Scene and costumes: L.J. Arthur
Chorus master: Knud Andersson
Stage director: Tito Capobianco
Scene and costumes: L.J. Arthur
Count di Luna RICHARD TORIGI baritone
Ferrando di
Luna’s captain of the guard NICOLA MOSCONA bass
Manrico a chieftain under the Prince of Biscay and reputed son of
Azucena GIOVANNI CONSIGLIO tenor
Duchess Leonora lady-in-waiting to the Princess of Aragon LEYLA
GENCER soprano
Ruiz a soldier in Manrico’s service JACK O’NEILL tenor
An Old Gypsy ROBERT LANE baritone
Inez confident of Leonora LYDIA NEUMANN soprano
Azucena a Biscayan gypsy woman IRENE KRAMATICH mezzo-soprano
Time: Fifteenth Century
Place: Biscay and Aragon
† Recording date
 |
| Promotion Photo Photo © Ceretti, Trieste |
ST. BERNARD VOICE
1964.11.20
OPERA MAGAZINE
1965 January
New Orleans. The 1964 New Orleans autumn season comprised five operas, each given
twice Otello, La Sonnambula. Werther, 11 Trovatore, and Madama Butterfly. I saw
the second of the two Trovatore performances, or rather three of the four acts,
for a combination of heat, humidity and something eaten on the plane, made me
leave the theatre at the third interval.
The title-role was
sung with little finesse and much noise and off-key singing by Giovanni
Consiglio, whose only attribute I could see, was that he looked rather like
Gigli. Leyla Gencer looked magnificent as Leonora, and did some nice things in
the aria and trio. Richard Torigi was an unsubtle Count of Luna in all
respects, and Irene Kramarich, who obviously possesses wonderful vocal
potential as yet unrealized, was the Azucena. The veteran bass, Nicola Moscona,
was what I believe one best describes as an 'authoritative' Ferrando.
Knud Andersson, who worked in Germany until 1953, got some crisp playing from his orchestra, and held the often-precarious ensemble together in a miraculous manner. Tito Capobianco likewise succeeded in imposing some semblance of order on the stage, though the sword and anvil play would not have deceived a child.
Knud Andersson, who worked in Germany until 1953, got some crisp playing from his orchestra, and held the often-precarious ensemble together in a miraculous manner. Tito Capobianco likewise succeeded in imposing some semblance of order on the stage, though the sword and anvil play would not have deceived a child.
Recording Excerpt [1964.11.12]
Tacea la notte placida Act I "Il
Duello" Scena II
D'Amor sull'ali
rosee Act IV "Il supplizio" Scene I
Mira d'acerbe
lagrime Act IV "Il supplizio" Scene I
