#il trovatore

[leporellian]

il trovatore backstory

[infinitelytheheartexpands]

@shredsandpatches i know you said not now but i had to

[chicinsilk]

September 27, 1964: actress Claudia Cardinale in a Nina Ricci evening dress leaves her London hotel to go to the Royal Opera House where she is to attend the performance of "Il Trovatore", an opera in four acts by Giuseppe Verdi.

27 septembre 1964: l'actrice Claudia Cardinale dans une robe du soir de Nina Ricci quitte son hôtel londonien pour se rendre au Royal Opera House où elle doit assister à la représentation de "Il Trovatore" opéra en quatre actes de Giuseppe Verdi.

Photos, inc.(Image Crédit : © Globe Photos/ZUMAPRESS.com)

[vera-dauriac]

You pop in the 2011 Met Trovatore, and you know Dima is going to be sexy af, but then you actually see him again, hear him again, and you just swoon.

[girlscarpia]

[automaticdreamlandkid]

Ettore Bastianini

[the-tenth-arcanum]

when you accidentally burn your own baby and you're stuck raising the one you meant to kill

[bluntforceyearning]

Gather round, Bastianini girlies. We're going down the rabbit hole again

[tenorissimi]

FRANCO CORELLI & LEONTYNE PRICE in VERDI's Il Trovatore 🌺

[leporellian]

the il trovatore brothers are the funniest thing in the world to me. i don’t think this is a slight against the opera (no tragedy works without good comedy) but please i need you to take my hand and see my vision here

IMAGINE you are a commoner in aragon and you hear that the old count di luna, who for the sake of the argument i imagine as being roughly the human equivalent of a german shepherd, has died and his son frederic is now the new count di luna. Your first thought is “his son’s not dead?” because you were SURE that strange weirdly tall sickly boy you remember having a foot in the grave when he was like 12 was Gone by this point but apparently not. “No the other son died this one is alright” Sure. Yeah. Before you realize that everything is a sham operation in Aragon you’re willing to believe this one.

As a child frederic was like a sickly victorian boy who’s response to any unusual stimuli was to cover his head with his hands and shake violently, and who could Only tolerate a supper of mushy carrots and warm broth lest he lose his appetite and faint the next day, and who Always referred to everyone else by their full titles and would put on a strangely adultlike air lest his father take him around the back of the castle for physical punishment. you go to meet the new count, now that he’s an adult and in charge of the property, and you’re greeted with a man who is 1) Exactly the same height he was as a boy (he was 5’2” in the second grade, which was freakishly tall then, but then he just stopped growing when he was 7 apparently) and 2) Entirely decked out in sparkly clothing. “It’s a statement,” he explains. you don’t know what angle the statement is coming from. he cannot properly sit in chairs and has a variety of jointed wood toy animals on his desk he plays with when he gets listless. he’s suddenly full of energy, the sort that would have killed him as a young boy, but he still will respond to unusual situations by covering his eyes with his hands or just turning around to face the wall (or, alternately, hissing at people). he has an attempt at a mustache like his old man’s but it’s just sort of sad and because he’s extremely blonde it just looks like a variety of mold growth. unfortunately this man was born too early to throw all his riches into an eccentric but ill-fated theme park so you have to deal with this Thing until then.

MEANWHILE one day you take a wander around and see the largest fucking man you’ve ever seen in your life carrying a good chunk of a whole ass tree. it’s not even that he’s Tall, although he is, he’s just the sort of man the phrase “built like a brick shithouse” was invented for. he’s hairy and gruff and weirdly youthful and you have No idea what this discount paul bunyan fuck is doing so you go to approach him. “Oh, Ma needed kindling”, he says in the manner of a well meaning farmhand. then you see him pluck an acorn off the part of the tree he’s carrying and eat it raw. he offers it to you and reasons they’re “quite good actually”. you’re too stupefied to actually respond either way. How old is he? Oh he’s only seventeen. Okay. Sure. later in the night you hear some beautiful but INCREDIBLY leather-lunged singing and come to find the giant from earlier has a wee lute that he plucks incredibly gently. you tell him he’s doing a nice job playing it but he needs to quiet down because you’re trying to sleep. “the lute is a she, not an it, you need to respect women,” he says. it sounds like the corny sort of thing you’d see on 2018 tumblr but somehow he’s completely serious. (does he respect women? what the fuck is he talking about? you don’t actually know the answer to either question.)

You are only going to realize the fictional nature of your life when you hear the news that one killed the other (despite the killed one probably being capable of crushing the killer’s spine on accident) and then it turned out they were secretly BROTHERS somehow,

[princesssarisa]

Opera on YouTube 5

Nabucco

Teatro alla Scala, 1987 (Renato Bruson, Ghena Dimitrova; conducted by Riccardo Muti; no subtitles)

Teatro di San Carlo, 1997 (Renato Bruson, Lauren Flanigan; conducted by Paolo Carognani; no subtitles)

Ankara State Opera, 2006 (Eralp Kıyıcı, Nilgün Akkerman; conducted by Sunay Muratov; no subtitles)

St. Margarethen Opera Festival, 2007 (Igor Morosow, Gabriella Morigi; conducted by Ernst Märzendorfer; English subtitles)

Rome Opera, 2011 (Leo Nucci, Csilla Boross; conducted by Riccardo Muti; English and German subtitles)

Teatro Comunale di Bologna, 2013 (Vladimir Stoyanov, Anna Pirozzi; conducted by Michele Mariotti; Italian subtitles)

Rome Opera, 2013 (Luca Salsi, Tatiana Serjan; conducted by Riccardo Muti; no subtitles)

Gran Teatro Nacional, Perú, 2015 (Giuseppe Altomare, Rachele Stanisci; conducted by Fernando Valcárcel; Spanish subtitles)

Metropolitan Opera, 2017 (Plácido Domingo, Liudmyla Monastyrska; conducted by James Levine; Spanish subtitles)

Arena di Verona, 2017 (George Gagnidze, Susanna Branchini; conducted by Daniel Oren; English subtitles)

La Cenerentola (Cinderella)

Jean-Pierre Ponnelle studio film, 1981 (Frederica von Stade, Francisco Araiza, Paolo Montarsolo; conducted by Claudio Abbado; English subtitles)

Glyndebourne Festival Opera, 1983 (Kathleen Kuhlmann, Laurence Dale, Claudio Desderi; conducted by Donato Renzetti; no subtitles)

Salzburg Festival, 1988 (Ann Murray, Francisco Araiza, Walter Berry; conducted by Riccardo Chailly; English subtitles)

Tokyo Bunka Kaikan, 1991 (Lucia Valentini-Terrani, Toshiro Gorobe, Domenico Trimarchi; conducted by Antonello Allemandi; Japanese subtitles) – Act I, Act II

Houston Grand Opera, 1995 (Cecilia Bartoli, Raúl Giménez, Enzo Dara; conducted by Bruno Campanella; no subtitles)

Rossini Opera Festival, 2000 (Sonia Ganassi, Juan Diego Flórez, Bruno Praticó; conducted by Carlo Rizzi; Italian subtitles)

Gran Teatre del Liceu, 2008 (Joyce DiDonato, Juan Diego Flórez, Bruno de Simone; conducted by Patrick Summers; German subtitles)

Romeo Opera, 2015 (Serena Malfi, Juan Francisco Gatell, Alessandro Corbelli; conducted by Alejo Pérez; Italian and English subtitles)

Lille Opera, 2016 (Emily Fons, Taylor Stayton, Renato Girolami; conducted by Yves Parmentier; English subtitles)

Boboli Gardens, Florence, 2020 (Svetlina Stoyanova, Josh Lovell, Daniel Miroslaw; conducted by Sándor Károlyi; no subtitles)

Lucia di Lammermoor

Tokyo Bunka Kaikan, 1967 (Renata Scotto, Carlo Bergonzi; conducted by Bruno Bartoletti; English subtitles)

Mario Lanfranchi film, 1971 (Anna Moffo, Lajos Kosma; conducted by Carlo Felice Cillario; English subtitles)

Bregenz Festival, 1982 (Katia Ricciarelli, José Carreras; conducted by Lamberto Gardelli; no subtitles) – Part I, Part II

Opera Australia, 1986 (Joan Sutherland, Richard Greager; conducted by Richard Bonynge; English subtitles)

Teatro Carlo Felice, 2003 (Stefania Bonfadelli, Marcelo Álvarez; conducted by Patrick Fournillier; Japanese subtitles)

San Francisco Opera, 2009 (Natalie Dessay, Giuseppe Filianoti; conducted by Jean-Yves Ossonce; English subtitles)

Amarillo Opera, 2013 (Hanan Alattar, Eric Barry; conducted by Michael Ching; English subtitles)

Gran Teatre del Liceu, 2015 (Elena Mosuc, Juan Diego Flórez; conducted by Marco Armiliato; French subtitles)

Teatro Real de Madrid, 2018 (Lisette Oropesa, Javier Camerana; conducted by Daniel Oren; English subtitles)

Vienna State Opera, 2022 (Lisette Oropesa, Benjamin Bernheim; conducted by Evelino Pidó; English subtitles)

Il Trovatore

Claudio Fino studio film, 1957 (Mario del Monaco, Leyla Gencer, Fedora Barbieri, Ettore Bastianini; conducted by Fernando Previtali; English subtitles)

Wolfgang Nagel studio film, 1975 (Franco Bonisolli, Raina Kabaivanska, Viorica Cortez, Giorgio Zancanaro; conducted by Bruno Bartoletti; Japanese subtitles)

Vienna State Opera, 1978 (Plácido Domingo, Raina Kabaivanska, Fiorenza Cossotto, Piero Cappuccilli; conducted by Herbert von Karajan; no subtitles)

Opera Australia, 1983 (Kenneth Collins, Joan Sutherland, Lauris Elms, Jonathan Summers; conducted by Richard Bonynge, English subtitles)

Metropolitan Opera, 1988 (Luciano Pavarotti, Eva Marton, Dolora Zajick, Sherrill Milnes; conducted by James Levine; no subtitles)

Bavarian State Opera, 2013 (Jonas Kaufmann, Anja Harteros, Elena Manistinta, Alexey Markov; conducted by Paolo Carignani; English subtitles)

Temporada Lirica a Coruña, 2015 (Gregory Kunde, Angela Meade, Marianne Cornetti, Juan Jesús Rodriguez; conducted by Keri-Lynn Wilson; no subtitles)

Opéra Royal de Wallonie-Liége, 2018 (Fabio Sartori, Yolanda Auyanet, Violeta Urmana, Mario Cassi; conducted by Daniel Oren; French subtitles)

Arena di Verona, 2019 (Yusif Eyvazov, Anna Netrebko, Dolora Zajick, Luca Salsi; conducted by Pier Giorgio Morandi; German subtitles)

Teatro Verdi di Pisa, 2021 (Murat Karahan, Carolina López Moreno, Victória Pitts, Cesar Méndez; conducted by Marco Guidarini; no subtitles)

[opera-ghosts]

Edith Helena - Verdi: Il TROVATORE, Tacea la notte placida, 1913 High E-flat

THE SONGBIRD: Edith Helena (1876–1956) was born in Brooklyn as Edith Helen Seymour, however her stage name became the Italian-sounding Edith Helena. Her mother had been a singer for the Mapleson company and her grandfather was an actor. Helena's rise to fame came through vaudeville from 1902 to 1909, where she specialized in high florid singing and violin imitations (performing melodies in a high, smooth vocalise style -- you can find a few of these novelty recordings posted on YouTube.). In 1910 she joined the Aborn Grand Opera Company and toured until 1917 singing roles such as Gilda, Violetta, Lucia, and Martha, as well as Aida, Butterfly, and Elsa of Brabant. Helena sang leading roles with the Century Opera Company from 1918 to 1921 and then returned to vaudeville until she retired in 1929.

THE MUSIC: Verdi's "Il Trovatore" premiered in Rome in 1853 and became his most popular opera for decades. There were 229 productions worldwide in the three years following its premiere. It still considered a staple of the standard repertoire and ranks 22nd on the list of most performed operas worldwide according to Operabase.com. Leonora, the prima donna, is a noble woman who falls in love with the troubadour Manrico, which inflames the jealous Count di Luna. Her first aria is the dreamy "Tacea la notte placida," which is followed by a perky and somewhat pecky florid cabaletta "Di tale amor." The score tops out at High C, but Helena throws in a High E-flat, just for good measure!

[vera-dauriac]

It's Leontyne Price's 97th birthday! I suggest celebrating with what is quite possibly the best Trovatore recording ever made.

[girlscarpia]

D'amor sull'ali rosee + Miserere THEE soprano grand scene