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Il Trovatore
There are clues in this recording that suggest Il Trovatore may not have been the highest priority that year at the Hamburg State Opera. For one, the chorus sings in German, and there are moments where the ensemble begins to slightly unravel. However, the soloists seem to embrace this fly-by-the-seat-of-your-pants approach to opera production, delivering inspired performances with an air of improvisation.
The standout is Pauline Tinsley as Leonora. She is truly one of the great Verdi sopranos of all time. Her voice is full and lush while maintaining purity of tone. She never pushes and navigates the coloratura passages with aplomb.
Irene Dalis is equally stunning as Azucena. Her voice has even more richness than in her early years, but she focuses more on highlighting the character than showcasing her prodigious vocal abilities. She does not shy away from using her chest voice to thrilling effect.
The men are not quite as strong as the women. As Manrico, Umberto Borso has a nicely burnished tone and a sizeable instrument, but he lacks finesse and style.
Track List
Act I
1. All'erta, all'erta!
2. Abbietta zingara, fosca vegliarda!
3. Su l'orlo dei tetti alcun l'ha veduta!
4. Che più t'arresti?
5. Tacea la notte placida
6. Di tale amor che dirsi
7. Tace la notte! immersa nel sonno, è certo, la regal Signora
8. Deserto sulla terra
9. Qual voce!... Ah, dalle tenebre tratta in errore io fui!
10. Di geloso amor sprezzato
2. Abbietta zingara, fosca vegliarda!
3. Su l'orlo dei tetti alcun l'ha veduta!
4. Che più t'arresti?
5. Tacea la notte placida
6. Di tale amor che dirsi
7. Tace la notte! immersa nel sonno, è certo, la regal Signora
8. Deserto sulla terra
9. Qual voce!... Ah, dalle tenebre tratta in errore io fui!
10. Di geloso amor sprezzato
Act II
11. Vedi! Le fosche notturne spoglie
12. Stride la vampa!
13. Mesta è la tua canzon!
14. Soli or siamo
15. Condotta ell'era in ceppi
16. Mal reggendo all'aspro assalto
17. Perigliarti ancor languente
18. Tutto è deserto
19. Il balen del suo sorriso
20. Qual suono!... oh ciel...
21. Ah!... se l'error t'ingombra
22. E deggio... e posso crederlo?
12. Stride la vampa!
13. Mesta è la tua canzon!
14. Soli or siamo
15. Condotta ell'era in ceppi
16. Mal reggendo all'aspro assalto
17. Perigliarti ancor languente
18. Tutto è deserto
19. Il balen del suo sorriso
20. Qual suono!... oh ciel...
21. Ah!... se l'error t'ingombra
22. E deggio... e posso crederlo?
Act III
23. Or co' dadi, ma fra poco
24. Squilli, echeggi la tromba guerriera
25. In braccio al mio rival!
26. Giorni poveri vivea
27. Deh, rallentate, o barbari, le acerbe mie ritorte...
28. Quale d'armi fragor poc'anzi intesi?
29. Ah! sì, ben mio
30. Di quella pira
24. Squilli, echeggi la tromba guerriera
25. In braccio al mio rival!
26. Giorni poveri vivea
27. Deh, rallentate, o barbari, le acerbe mie ritorte...
28. Quale d'armi fragor poc'anzi intesi?
29. Ah! sì, ben mio
30. Di quella pira
Act IV
31. Siam giunti; ecco la torre
32. D'amor sull'ali rosee
33. Miserere d'un'alma già vicina
34. Udite? Come albeggi, la scure al figlio
35. Mira, di acerbe lagrime
36. Vivrà!... contende il giubilo
37. Madre?... non dormi?
38. Ciel!.. non m'inganna quel foco lume?...
39. Prima che d'altri vivere...
32. D'amor sull'ali rosee
33. Miserere d'un'alma già vicina
34. Udite? Come albeggi, la scure al figlio
35. Mira, di acerbe lagrime
36. Vivrà!... contende il giubilo
37. Madre?... non dormi?
38. Ciel!.. non m'inganna quel foco lume?...
39. Prima che d'altri vivere...
Customer Reviews
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4.7
Based on 3 reviews
✓ Top Reviewer
United States
Good Trovatore with Two Great Women!
I continue to collect every recording I can find sung by Pauline Tinsley. Her Leonora is very well sung and is a worthy addition to her Verdi discography. Tinsley was a risk-taker and sometimes she "lands" just right, other times not quite a bulls-eye. There is a little of both in this performance. She goes for the written D-flat at the end of "Tacea la notte" and comes within a hair of losing it. On the other hand, she nails a great D-flat at the end of Act One. Her Act Four scena is beautifully executed without making one forget Price, Callas - choose your own diva. Yet Tinsley always sings as if it matters and that's what makes her so memorable. Dalis is a gutsy Azucena with the vocal goods to back her up. She actually sings the written trills in "Stride la vampa"! Borso is fine as Manrico, if a bit bellowy; he'd be welcome at the Met today. Ruzdak was a good baritone who sang better on other occasions. He manages Di Luna professionally without being very memorable. The Inez (Paula Page) is unusually good.The sound is very good though whether it's from a broadcast or house tape I don't know. Was this a dress rehearsal? The audience seems very subdued, especially where the women are concerned.If you collect Tinsley or Dalis recordings, add this to your collection!
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✓ Verified Buyer
United States
✓ Verified Buyer
Rock
Tinsley is another of those great singers who was under-recorded. UmbertoBorso’s only studio recording was Aida in the early 50s with Mary Curtis Vernaand Ettore Bastianini. (Now available on CD.) He had a big, golden voice.Don’t know why we didn’t hear more of him.Nice to hear Irene Dalis in an Italian role. Most of her recordings seem to beWagner. As Andy says, the pace of this performance is energetic.
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