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Your Reaction: What did you think of Verdi's Il trovatore (2016/17)

Read the audience's reactions following the first revival of David Bösch’s new production for The Royal Opera.

By Mel Spencer (Senior Editor (Social Media))

5 December 2016 at 12.15pm | 7 Comments

Press reviews:
The Stage ★★★
Guardian ★★
Telegraph ★★
Times (£) ★★
Bachtrack ★★

What did you think of Il trovatore?
Let us know via the comments below.

Il trovatore runs until 9 February 2017. Tickets are still available.

The production will be broadcast live to cinemas on 31 January 2017. Find your nearest cinema.

By Mel Spencer (Senior Editor (Social Media))

5 December 2016 at 12.15pm

This article has been categorised Opera and tagged by David Bosch, by Giuseppe Verdi, Il trovatore, Production, Reviews, twitter, your reaction

This article has 7 comments

  1. Coppelia responded on 5 December 2016 at 1:07pm Reply

    Maybe I’ve just reached peak Trovatore this year, but definitely felt less enamoured with this production last night than I was in the summer. It all started so promisingly, with dashing Gabor Bretz immediately setting up a suspenseful atmosphere with his delectable bass voice and Quinn Kelsey presenting the most dramatic interpretation of Count di Luna yet of the three casts. Unfortunately the dramatic tension gradually peters out as the evening progresses.
    There were some memorable moments however, such as when Azucena recounts to Manrico how her mother was burned at the stake and throwing her baby in the fire, it literally felt like she was reliving the sequence of events in all their flesh crawling horror. I do like the flaming heart at the finale too. At best, excellent singing from the cast, at worst drab, static, irritating. Sorry ROH, it would take a big draw casting to make me want to see this again. Nice bear though.

  2. Joseph Johnson responded on 10 December 2016 at 10:21am Reply

    The singing in this production be it good or otherwise is one thing, the production itself is another. David Bosch's production of this great Verdi masterpiece is a disgrace - awful beyond words! ... Why oh why does The Royal Opera insist on destroying the classics with productions of this kind. I would not want to sit through anything like this again.

  3. Robin Smith responded on 11 December 2016 at 3:09am Reply

    Anita Rachvelishvili was sensationally good tonight (December 10th) - difficult to believe Azucena could be better sung and performed. What a voice !
    The Chorus packed a Verdian punch and I enjoyed Maria Agresta's singing throughout. Najmiddin Mavlyanov as Manrico also impressed more and more as the night wore on.

  4. Pleasantly surprised , fearing the worst based on reviews. Thankfully the lousy video projections have been stripped away, leaving a dark inoffensive production with little real direction of singers, but stand and deliver is fine when the music is this wonderful.. terrific azucena and Luna, leonora fine but the effort could be felt throughout, manrico b list, not really ROH standard, where was the last syllable of di quells pira ?

    Can we have a new Forza now please, and don Carlos in French?

  5. Charlie responded on 18 December 2016 at 3:13pm Reply

    Bringing the action closer in time is all very well (and I enjoyed Manon Lescaut last Monday) but not if the result is to undermine the work. I’ve no idea if Gutierrez (let alone the librettists) ever saw Goya’s Black Paintings (e.g the Witches’ Sabbath and the Fight with Cudgels) but that’s the sensibility that needed; and it just doesn’t work if we’re presented with the jokey (it seemed to me) depiction of the gypsies as a motley band of mediocre circus performers. (P.S. Anita Rachvelishvili was marvellous notwithstanding!)

  6. Fiona Fride responded on 31 January 2017 at 8:54pm Reply

    Watching in the cinema at Devizes I was amused to see the great product placement in the first scene of a can of 6X, Devizes own Wadworths beer at centre stage.
    Singing fabulous but had to suspend belief somewhat with the actual ages of the lead players compared to the parts they are playing.
    Despite that absolutely loving it.

  7. Mark responded on 8 February 2017 at 9:34pm Reply

    What a drab production! Many of Bosch's ideas seem to be along the same lines as his Munich L'Elisir, which didn't come off either.
    The highlight for me was Anita Rachvelishvili who was outstanding as Azucena. Muddy Italian from the other principals, although some nice singing at times. Missed Hvorostovsky as di Luna, Bilyy didn't really do it for me. However, the biggest question surely must be, 'What's is the big fuss about Gregory Kunde?' He doesn't really have a Verdi voice and was pretty poor dramatically. On which point at 62 he was totally implausible as di Luna's brother and what age was Ferrando meant to be? He's far too young to tell the opening story and be believable. Come on ROH, please drop these poor productions and indifferent casting decisions.

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