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Il Trovatore
This performance of Il Trovatore captures Katia Ricciarelli at the height of her vocal powers. As Leonora, she sings with a luminous, golden tone and phrasing that is both supple and emotionally direct. Her high notes float effortlessly, and she manages to convey the character's nobility and desperation without a hint of artifice. It is a portrayal of rare vocal beauty and dramatic sincerity.
Franco Bonisolli, often remembered for his flamboyance, here surprises with a performance of remarkable restraint and refinement. His legato is impeccable, and he shapes each phrase with care and elegance. The voice retains its signature brilliance, but it's used in service of style rather than spectacle.
Together, Ricciarelli and Bonisolli form a striking partnership, proving that Il Trovatore can be just as powerful when guided by taste and discipline as when driven by sheer vocal force.
Track List
Act I
1. All'erta! All'erta!
2. Abbietta zingara, fosca vegliarda!
3. Sull'orlo dei tetti
4. Che più t'arresta?
5. Tacea la notte
6. Di tale amor che dirsi
7. Tace la notte!
8. Di geloso amor sprezzato
2. Abbietta zingara, fosca vegliarda!
3. Sull'orlo dei tetti
4. Che più t'arresta?
5. Tacea la notte
6. Di tale amor che dirsi
7. Tace la notte!
8. Di geloso amor sprezzato
Act II
9. Vedi! le fosche notturne
10. Stride la vampa!
11. Condotta ell'era in ceppi
12. Mal reggendo all'aspro assalto
13. Perigliarsi ancor languente
14. Tutto è deserto
15. Il balen del suo sorriso
16. Qual suono! Oh ciel!
17. Perché piangete?
18. E deggio e posso crederlo?
10. Stride la vampa!
11. Condotta ell'era in ceppi
12. Mal reggendo all'aspro assalto
13. Perigliarsi ancor languente
14. Tutto è deserto
15. Il balen del suo sorriso
16. Qual suono! Oh ciel!
17. Perché piangete?
18. E deggio e posso crederlo?
Act III
19. Or co' dadi, ma fra poco
20. Squilli, echeggi la tromba guerriera
21. In braccio al mio rival!
22. Giorni poveri vivea
23. Deh! rallentate, o barbari
24. Quale d'armi fragor poc'anzi intesi?
25. Ah sì, ben mio, coll'essere
26. L'onda de' suoni misurati
27. Di quella pira
20. Squilli, echeggi la tromba guerriera
21. In braccio al mio rival!
22. Giorni poveri vivea
23. Deh! rallentate, o barbari
24. Quale d'armi fragor poc'anzi intesi?
25. Ah sì, ben mio, coll'essere
26. L'onda de' suoni misurati
27. Di quella pira
Act IV
28. Siam giunti; ecco la torre
29. D'amor sull'ali rosee
30. Miserere d'un'alma già vicina
31. Udiste? Come albeggi, la scure al figlio
32. Vivrà! Contende il giubilo
33. Madre, non dormi?
34. Sì, la stanchezza m'opprime, o figlio
35. Che! Non m'inganna quel fuoco lume?
36. Prima che d'altri vivere io volli tua morir!
29. D'amor sull'ali rosee
30. Miserere d'un'alma già vicina
31. Udiste? Come albeggi, la scure al figlio
32. Vivrà! Contende il giubilo
33. Madre, non dormi?
34. Sì, la stanchezza m'opprime, o figlio
35. Che! Non m'inganna quel fuoco lume?
36. Prima che d'altri vivere io volli tua morir!
Customer Reviews
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4.5
Based on 2 reviews
✓ Top Reviewer
United States
Excellent Trovatore in Good Sound!
Katia Ricciarelli wasn't even 30 when this performance took place. She sings very beautifully with a fine sense of line and a more secure top register than she would have even five years later. Her vocal range effectively stopped at the C, a liability in Verdi. Her "D'amor sull'ali rosee" in the fourth act is a highlight of the performance. She does not give us the ensuing cabaletta. Neither she nor Bonisolli indulge in an interpolated D-flat at the end of Act One though the tenor would on other occasions.Bonisolli is caught here before he began to indulge himself in sloppy, divo-like behavior. His singing is passionate, his top C in "Di quella pira" thrilling (and it is a C, he doesn't transpose.) He also gives us a trill of sorts in "Ah, si, ben mio" and handles the grupetti of the cabaletta more accurately than he would later on.Mastromei is a good Di Luna and a singer unknown to me, Kina Kosseva, is a first-rate Azucena. Her voice is colorful and steady and has enough range to touch the C in the cabaletta of her duet with Manrico. She ends the opera on a strong B-flat. The Ferrando is very good though I didn't recognize his voice. Weikart leads a spirited performance that threatens to come unglued a few times, especially in the Leonora/Di Luna duet.The sound is taken from an in-house source, but the voices are very clear, the audience usually quiet though a few coughers occasionally intrude.
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✓ Verified Buyer
Ireland
EXCELLENT LIVE TROVATORE
Funnily I recently reviewed this as a result of a request by email, but it must have got lost in transit. I like this as I am familiar with the principals with the exception of Kosseva. The singing all-round is up to the highest standard. Bonisolli is very good although I have a sneaking feeling that he was'nt in his usual free voice on the night-something that can happen, but he had such a secure technique. He sometimes sounded a little heavy in the middle. The 29- year old Ricciarelli is excellent and handles D'amor sull'ali rosee with ease, always my criterion. Mastromei is a competent di Luna, as is Kosseva in the taxing Azucena.The musical direction and Orchestra and chorus are fine, although I thought Weikert took Di quella pira at a much faster tempo than the rest of the opera.One little crib! Track 6 on disc 2-Quale d'armi fragor, although listed is missing. However it does not take from my overall satiusfaction./
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