Il Trovatore   (Gencer, del Monaco, Bastianini)      (Hardy 4006)
Item# DVD0101
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Product Description

Il Trovatore   (Gencer, del Monaco, Bastianini)      (Hardy 4006)
DVD0101. IL TROVATORE, Live Performance, 8 April, 1957, w.Previtali Cond. RAI Ensemble, Milano; Mario del Monaco, Leyla Gencer, Ettore Bastianini, Fedora Barbieri, etc. (Italy) Hardy 4006. Final ever-so-slightly used copy. - 8018783040061

CRITIC REVIEWS:

“When Italy began broadcast television in the late 1950s, it was natural that producers would turn to opera. It's in black and white. The picture is grainy. The sets and costumes look artificial. The lip-synching is poor. Even the subtitles are full of misspellings. But for me, it's five stars anyway because the four leads give five star performances.

Leyla Gencer brings out the lyric beauty of the arias composed by Verdi for Leonora. She sings them at a slower pace than usual, but that only showcases the elegance of an aria such as ‘Tacea la notte’. She then takes the quick-paced cabaletta that follows and performs it in a light and dreamy mood as opposed to the usual desperate rush we're used to. Truly unique.

In Act IV, the ethereal quality that she brings to ‘D'amor sull'ali rosee’, makes her heartbreak just that much sadder for us watch. It's one of the most beautiful renditions of the aria that I've heard; the way she floats those high notes is just stunning. It's only in the ‘Miserere’ that her desperation begins to show, making it understandable why she would poison herself.

Mario Del Monaco's deep tenor voice is stronger and louder than we're used to modernly. Combine the sheer power of his voice with his old-fashioned dashing and heroic interpretation of Manrico, and it's a performance to treasure. I love how he savors every note of the tender and slow ‘Ah! si, ben mio’ instead of rushing through it to get to famous battle cry, ‘Di quella pira’.

Fedora Barbieri has a powerful mezzo voice with great range from low to high. But along with its power, her voice possesses a beautiful flow that is associated more often with sopranos. She moves flawlessly from crazed to loving mother. I'd heard her Azucena on CD (it's one of her signature roles), so it's a great treat to see her on DVD.

Ettore Bastianni has a beautiful burnished baritone voice - almost a bass baritone - yet he is at home in the higher notes too. He emphasizes the human side of Di Luna, managing to make him a sympathetic character. This is helped by his superb rendition of ‘Il balen’. His success in drawing our sympathy in this aria is due in large part to the pure beauty of his voice.

Take these four superb solo voices, put them together in Verdi's ensemble piece, and the resulting duets and trios are riveting. The Act IV duet between Leonora and Di Luna builds to a lightening-fast pace, their voices blending beautifully as her desperation turns to a kind of otherworldly ecstasy as she believes that, by sacrificing her own life, she has saved Manrico. It's thrilling to watch. If you love IL TROVATORE as I do, don't miss this DVD.”

- Toni Bernhard



"When you sing, you have to feel what you are saying.... I actually cried on stage. Once in a while a note would issue forth that was not orthodox. That's why the American critics don't like me. But I don't care. They want music with water and soap."

- Leyla Gencer



“It was always a given that del Monaco possessed a remarkably powerful, steady voice with unsurpassed brilliance and power. He was, however, often criticized for singing with little finesse, for using his power unrelentingly. That was never true (his many live broadcast recordings give even stronger evidence of his ability to sing with light and shade)….I found myself thrilling to the sheer sound of the voice and to the commitment and passion with which he sang. What will surprise many is the variety of dynamics and color that the tenor did bring to his singing….It is easy for critics to comment on the method of a singer and to forget the most important element—the sound of the voice....His diction was a model of clarity and crispness, his intonation was almost always centered, and his rhythmic pulse was extremely strong. In many cases one listens to this kind of singing and longs for the days gone by when there were singers like this....old-timers...reminisce over one of the great operatic tenor voices to be heard in the 1950s and ‘60s, and younger listeners discover what a great ‘tenore di forza’ sounds like. We have nothing like him today.”

- Henry Fogel, FANFARE