Interludes

THE HANGOVER REPORT – The Met’s revival of David McVicar’s Goya-inspired IL TROVATORE is fiercely sung and acted

• By drediman
• January 23, 2018
• No Comments

Yonghoon Lee and Jennifer Rowley in Sir David McVicar’s production of Verdi’s “Il Trovatore” at the Metropolitan Opera.

When performed by the right cast with sufficient theatrical intensity, Sir David McVicar’s 2009 production of Verdi’s Il Trovatore has the potential to be one of the more compelling of the Metropolitan Opera’s Gelb-era stagings. Such was the case when I last encountered the production two years ago, which sadly featured Russian baritone superstar Dmitri Hvorostovsky in his final appearance at the Met before his unfortunate passing (as Count di Luna), co-starring opposite another sought-after Russian artist, the glamorous soprano Anna Netrebko (as Leonora). That performance also starred Korean tenor Yonghoon Lee as Manrico, who vocally and dramatically gave his all, thrillingly. Luckily, such was also the case at tonight’s fiercely sung and acted opening night performance of the revival.

Mr. McVicar’s Il Trovatore (which I had originally seen at Chicago’s mighty Lyric Opera) works because of its willingness to embrace the plot’s dark, grotesque extremities. Set on a turntable, the production also has a fluid, cinematic quality that keeps the action moving as in a summer blockbuster film. The set design, by Charles Edwards, is apparently inspired by Spanish artist Francisco Goya, which effectively contributes to the staging’s apocalyptic-like menace and heightened sense of decay and pessimism. Kudos also to Jennifer Tipton’s atmospheric lighting design. Unlike many of the recent new productions at the Met, this concept really works.

As alluded to, the cast tonight was absolutely top-notch. As Leonora, American soprano Jennifer Rowley gave a performance of note, with her expressive, bright voice thoroughly shedding light on her character’s rollercoaster arc. As Manrico, the dashing Yonghoon Lee was back, and he was as committed and forceful as his last run in the role. American baritone Quinn Kelsey sounded smooth and commanding  as Count di Luna; he’s one to watch out for. And last but not least, Georgian mezzo-soprano Anita Rachvelishvili gave a gutsy, nail-biting performance as the gypsy Azucena to thunderous ovations from the opening night audience. Marco Armiliato conducted the superb Met Orchestra, giving an exhilarating account of Verdi’s awesome score. Special mention also to the Met Chorus, which sounded extraordinary tonight.

HIGHLY RECOMMENDED

IL TROVATORE
Opera
The Metropolitan Opera
2 hours, 50 minutes (with one intermission)
Through February 15