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Your Reaction: Verdi's Il trovatore on BP Big Screens and YouTube

What did you think of David Bösch’s new production of Verdi's operatic masterpiece, broadcast live around the world?

By Mel Spencer (Senior Editor (Social Media))

14 July 2016 at 10.36pm | 11 Comments


A photo posted by María (@esca_lorolo) on

  A photo posted by Maz (@_m_a_z_) on

What did you think of Il trovatore live on BP Big Screens and YouTube?
Let us know via the comments below.

Il trovatore runs 1 December 2016-8 February 2017.

Tickets go on sale to Friends of Covent Garden on 21 September 2016. General booking opens on 18 October 2016.

By Mel Spencer (Senior Editor (Social Media))

14 July 2016 at 10.36pm

This article has been categorised Opera and tagged BP Big Screens, by David Bosch, by Giuseppe Verdi, Il trovatore, live stream, Production, Social Media, twitter, your reaction, YouTube

This article has 11 comments

  1. Eleanor responded on 14 July 2016 at 10:58pm Reply

    Enjoyed Il trovatore on-line in Calgary, Western Canada. Casting was on the money!! Great pairings and wonderful voices. I thought set design interesting - albeit, a few strange choices. Didn't detract from performance..... or my enjoyment!!.
    Lighting was most effective! !
    All in all, a thoroughly enjoyable performance.
    Well done ROH ....thank you so much.

  2. Jackie Miller responded on 14 July 2016 at 11:24pm Reply

    Having read previous comments, I was sceptical about the performance. I knew the singers would be excellent but was nervous regarding the production, however I did quite enjoy it strange but absorbing.

  3. Jane responded on 15 July 2016 at 1:12am Reply

    Watched in Duthie Park Aberdeen wrapped in a sleeping bag, hat, gloves and a fleece, but it was so worth braving the elements for. Very very dramatic and loved the music. I couldn't decide which period it was set in. Caravans with TV and recording violence on a mobile phone but burning witches at the stake, evil counts and knife fights. Loved it.

  4. Enobarbus responded on 15 July 2016 at 9:39am Reply

    Difficult to fathom the mind of a director who presents gratuitous torture on stage in an opera being broadcast free, world wide, in order to engage children in great music drama. Irresponsible, adolescent, sordid sensationalism: what will we have next: a bit of child roasting? mass copulation with pigs? Once, people roared approval for public executions and floggings, so to argue that this is 'what people like', is no argument at all. It's a yobbish, irresponsible descent into the crudest populism and decadence, privileged by an extravagant and increasingly unwarranted subsidy. The musical excellence of so many ROH productions is being compromised by an arrogant vulgarity more informed by the values and tastes of Tarantino than by those of Verdi. Let's stop applauding the vanity of exhibitionism.

    • Kasper Holten responded on 15 July 2016 at 3:44pm

      I am very sorry you felt this way about the production of Trovatore. Verdi’s opera itself has a very dark subject, and I think it perfectly justified – given the subject of Verdi’s opera – that a production should include some cruelty and violence. I do not feel it was in any way gratuitous in this production. Literature, opera, film, theatre is full of examples of great masterpieces that have very dark and violent subjects. I do not think it would be right to suggest they can only be presented in a way so that children can enjoy them, nor to suggest that productions of such works should not be made available to a wide audience. I am all for engaging the next generation with opera, but if you choose to do so with a work with such a dark subject (the story includes the burning of a child by his own mother, murder and suicide), I would advise you to find out more about the production first.
      Kasper Holten
      Director of Opera for the Royal Opera

  5. Enobarbus responded on 15 July 2016 at 9:42am Reply

    Am I the only person furious at the way ROH productions are becoming increasingly sensationalist?

  6. Roy responded on 15 July 2016 at 5:59pm Reply

    Not upset about the violence at all, but about how many drab, dull, grey, cheap,looking productions ROH continue to foist on us, this one is as dull as the Nabucco. I can't see why the last serviceable production was replaced, for an opera that won't be revived every year like the major classics it didn't need money spent on such a subpar replacement. based on this I don't see it selling well when revived again before the end of this year unless ticket prices are much reduced . Shame as I'd love to see Trovatore again but not looking like this.

  7. FromBerkeley responded on 15 July 2016 at 11:13pm Reply

    I fully agree with Enobarbus' comment. These "directors' versions detract from the appreciation of the operas as their authors composed them. And in all cases they fall into incongruencies and anachronisms: Manrico is a political rebel, with a band of well armed followers, not a bunch of lunatics wearing angels' wings and other incongruent costumes that add nothing, absolutely nothing to the opera. The gypsies' camp is a complete visual travesty. I'm concerned that this type of productions do a disservice to promoting interest and love of opera in first-time opera watchers. A shame if this is the only version of the opera that newcomers will see. Give us Verdi in all its beauty -it simply cannot be improved upon.

  8. Steve responded on 17 July 2016 at 11:48pm Reply

    I came just few minutes ago back from the last performance of Il Trovatore in the ROH for this season (17 July). The singing and acting of Ekaterina Semenchuk as Azucena was just excellent. Wonderfully sung arias could be heart also from Francesco Meli as Manrico and Lianna Haroutounian as Leonora. And Verdi’s music was wonderfully performed under Gianandrea Noseda, who gave everything into his conducting of this masterpiece.

    But here it ends for me. I am used to attend live performances because if the singers and the music are good, you believe the story and are moved by it. This applies if you are not really distracted by the way how it is directed.

    The new production of Il Trovatore at the ROH as directed by David Bösh was able to distract me in such a way, that I wasn’t moved by the performance at all, compared to Werther which I saw few weeks ago.

    If it would be staged in the form of a concert, I could feel more. I had the impression I am in the middle of a Kustorica film, with the difference, that it wasn’t as good as Kustorica’s films are, because this kind of style which works in Kustorica’s movies (because he knows what he is doing and why), didn’t work for me for this opera, where the story takes place in Spain few centuries ago.

    But the audience of ROH just needs to get used to this new style promoted by ROH Opera Director Holten, like sex and killing scenes in Lucia di Lammermoor, the decomposition of Eugene Onegin or Guillaume Tell.

    Though it has an advantage. With such types of productions you don’t need to bother bringing a handkerchief because you will not weep. One’s has a feeling as if some directors have the desire not to bring over emotions, but their concepts in order to become famous.

  9. C. Maeder responded on 24 July 2016 at 2:58pm Reply

    Thanks for showing "Il Trovatore" on YouTube saved me another trip to London to see a trash production at the ROH. Why are these so called productions always so ugly.Opera is total spectacle and should be a feast for the ear as well as the eye.Ever since "Stuarda " we don't go to the RHO any more. Nothing against modern productions, seen some very stunning one's around Europe.The singing was poor too, the sort of stuff you see in a provincial Opera House in Germany.

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