Here are the items that we found.
Il Trovatore
Richard Tucker was "discovered" by the Metropolitan Opera while serving as Cantor at the Brooklyn Jewish Center, and he consistently returned to the pulpit for High Holiday services throughout his career. It follows naturally that this religious man was a major proponent of the Israel Philharmonic, and he is heard here in one of his signature roles only two years before his sudden death at the age of 61. To be frank, he is caught a little bit past his prime, with his ringing tenor sometimes consumed by a worrying bark, but he remains capable of melting tenderness and glorious force. Gilda Cruz-Romo is his Leonora, floating her arias effortlessly, and Mignon Dunn is a creepy, intense Azucena. Siegmund Nimsgern is a bit of an odd choice for Di Luna, but he brings an appealing nastiness to the role. Zubin Mehta's tempi vary on the sluggish side and some of the smaller roles are weak, but the chorus work is hugely appealing and the Philharmonic is in fine form.
Track List
Act I
1. All'erta, all'erta!
2. Di due figli vivea padre beato
3. Che più t'arresti?
4. Ascolta...Tacea la notte placida
5. Di tale amor che dirsi
6. Tace la notte!... Deserto sulla terra
7. Di geloso amor sprezzato
2. Di due figli vivea padre beato
3. Che più t'arresti?
4. Ascolta...Tacea la notte placida
5. Di tale amor che dirsi
6. Tace la notte!... Deserto sulla terra
7. Di geloso amor sprezzato
Act II
8. Vedi! Le fosche notturne spoglie
9. Stride la vampa!
10. Condotta ell'era in ceppi
11. Mal reggendo all'aspro assalto
12. Tutto è deserto...Il balen del suo sorriso
13. La squilla vicino il rito annunzia!...Per me, ora fatale
14. Ah, se l'error t'ingombra, O filgia d'Eva
15. E deggio... e posso crederlo?
9. Stride la vampa!
10. Condotta ell'era in ceppi
11. Mal reggendo all'aspro assalto
12. Tutto è deserto...Il balen del suo sorriso
13. La squilla vicino il rito annunzia!...Per me, ora fatale
14. Ah, se l'error t'ingombra, O filgia d'Eva
15. E deggio... e posso crederlo?
Act III
16. Or co' dadi, ma fra poco
17. In braccio al mio rival!... D'una zingara è costume
18. Quale d'armi fragor poc'anzi intesi?
19. Ah! sì, ben mio
20. Di quella pira l'orrendo foco
17. In braccio al mio rival!... D'una zingara è costume
18. Quale d'armi fragor poc'anzi intesi?
19. Ah! sì, ben mio
20. Di quella pira l'orrendo foco
Act IV
21. Siam giunti; ecco la torre
22. D'amor sull'ali rosee
23. Miserere d'un'alma già vicina
24. Udite? Come albeggi... Mira, di acerbe lagrime
25. Vivrà! Contende il giubilo
26. Madre? non dormi?
27. Sì, la stanchezza m'opprime, o figlio
28. Ciel!.. non m'inganna quel fioco lume?
29. Ti scosta...Non respingermi
22. D'amor sull'ali rosee
23. Miserere d'un'alma già vicina
24. Udite? Come albeggi... Mira, di acerbe lagrime
25. Vivrà! Contende il giubilo
26. Madre? non dormi?
27. Sì, la stanchezza m'opprime, o figlio
28. Ciel!.. non m'inganna quel fioco lume?
29. Ti scosta...Non respingermi
Customer Reviews
Share your experience with fellow collectors
Share Your Experience
A star rating alone is welcome, and reviews may be written in any language.
5.0
Based on 2 reviews
✓ Top Reviewer
United States
Cruz-Romo reigns supreme.
Richard Tucker, late in his career, proves he has all of the control and stamina of his early years.
Report
✓ Top Reviewer
United States
Exciting Performance in Excellent Sound!
This was probably taken from a concert performance since there is little, if any, stage noise. Il Trovatore can work very well that way and the four leading singers give it their all. Tucker is in good voice for the period, still singing with style and ringing tone, but his phrasing is rather bumpy by this time and he tends to bark in a hammy way at his colleagues. He was obviously the star draw of the evening as he gets applause at his entrance and receives a rapturous response to his "Ah, si, ben mio" and "Di quella pira". Cruz-Romo is allowed to interpolate all the traditional high notes here so she ends Act One on an exciting D-flat and concludes her duet with Di Luna with a top C. The audience loves her as well and greats her lovely "D'amor sull'ali rosee" with over a minute of applause. Dunn sings up a storm; if some of her high notes are a little wild, it suits Azucena well. Nimsgern seems like an odd choice for Di Luna; except for some snarling in the first act though he sings with style and a beauty of tone that he abandoned later on in his career. The Ferrando and Ines are also very good. Mehta makes all the traditional cuts and then some, although he does allow Dunn her entire Act Three cabaletta. He keeps things moving though. The chorus and orchestra do Verdi proud.The sound, from a broadcast, is excellent. Recommended to fans of the singers.
Report
