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Verdi: 2 Trovatore

Marc Minkowski (Actor), Misha Didyk (Actor), Dmitri Tcherniakov (Director), Format: Blu-ray
3.7 3.7 out of 5 stars 9 ratings
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November 18, 2014 		—
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Il Trovatore — —
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After the success of Rigoletto, Verdi called on librettist Salvadore Cammarano in 1851 for his new opera Il Trovatore, based on the eponymous play by Spanish playwright Antonio García Gutiérrez. Verdi takes us to 15th century northern Spain to witness the tragic destiny of those under the control of the gypsy Azucena, who seeks to avenge the death of his mother. The first percussion notes are solemn, setting the tone for Verdis masterpiece, whose main themes include abandonment, passion, power, love for ones parents and vengeance. The music is sometimes tender and sensuous, with exceptional energy and force, revealing daring and mastery in its musical and vocal language. This production marked the debut of Russian stage director Dmitri Tcherniakov at La Monnaie and the first Verdi interpretation by Marc Minkowski.

Product details

  • Aspect Ratio ‏ : ‎ 1.78:1
  • Is Discontinued By Manufacturer ‏ : ‎ No
  • Product Dimensions ‏ : ‎ 0.46 x 6.73 x 5.22 inches; 2.88 ounces
  • Director ‏ : ‎ Dmitri Tcherniakov, Andy Sommer
  • Media Format ‏ : ‎ NTSC, Blu-ray, Multiple Formats, Classical
  • Run time ‏ : ‎ 2 hours and 38 minutes
  • Release date ‏ : ‎ November 18, 2014
  • Actors ‏ : ‎ Marc Minkowski, Misha Didyk, Marina Poplavskaya, Scott Hendricks, Sylvie Brunet-Grupposo
  • Dubbed: ‏ : ‎ None
  • Subtitles: ‏ : ‎ French, English, German, Dutch
  • Producers ‏ : ‎ La Monnaie
  • Language ‏ : ‎ English (Dolby Digital 5.1)
  • Studio ‏ : ‎ Bel Air Classiques
  • ASIN ‏ : ‎ B00MV5LQO6
  • Writers ‏ : ‎ Giuseppe Verdi, Salvadore Cammarano, Leone Emanuele Bardare
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    3.7 3.7 out of 5 stars 9 ratings

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3.7 out of 5 stars
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Top reviews from the United States

  • DM
    5.0 out of 5 stars For that I strongly recommend the one with Jose Cura and Hvorostovsky which is ...
    Reviewed in the United States on May 15, 2017
    Verified Purchase
    This should not be your first Trovatore video. For that I strongly recommend the one with Jose Cura and Hvorostovsky which is better sung..
    But as an alternative thoughtful interpretation, this video is outstanding. It is also uncut containing two verses of the great cabalettas
    Tu vedrai and Di quel pira.
    2 people found this helpful
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  • Andrew Dabrowski
    4.0 out of 5 stars well done
    Reviewed in the United States on April 7, 2020
    Verified Purchase
    Not the four greatest singers in the world, but a solid production
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  • David J. Mayo
    1.0 out of 5 stars Amazon screws up again! Buyer Beware
    Reviewed in the United States on October 23, 2014
    Buyer Beware: Amazon does it again. Amazon very often posts reviews of operas and other classical cd's and dvd's that are NOT of the recordings they are listed under. This DVD has not yet been released, but one can read on the cover who the singers are. The reviews--some of a CD set--are sprinkled with references to other singers, several reviews refer to quite old and even vinyl releases.
    The upshot: WHENEVER reading reviews of classical music and especially opera DVD's at Amazon, double-check to confirm that the review you're reading is a review of product under which it's listed.
    15 people found this helpful
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  • Keris Nine
    4.0 out of 5 stars Miss Marple Verdi!
    Reviewed in the United States on October 20, 2014
    There's a case to be made for putting a little distance between the drama and the telling of it in Verdi's potboiler, Il Trovatore. The plot is a difficult one to carry-off convincingly, but as it happens, all the melodrama is already kept at a certain distance through how the characters relate their own stories. It's undoubtedly with this in mind that Dmitri Tcherniakov stages this production at La Monnaie in Brussels with the framing device of it being related, relived and re-enacted at some date in the future by the main protagonists. Considering the bloody fates of many of those characters, it is however a bit of a stretch to imagine them meeting up some years later, but if the concept is a somewhat dubious, the approach does refreshingly bring out new elements to an overly-familiar work.

    Like figures from some Agatha Christie mystery where the main suspects have been assembled in a drawing room, the five main characters in Verdi's drama turn up in the silent prologue, Leonora in a dark wig and wearing sunglasses, Manrico in a snakeskin jacket. Warily, after years of separation, they edge around each other as Azucena locks the door to the room, keeping them captive there to work through the events that have occurred in order to "shed light on the tragic past that has united their destinies". Taking place entirely within the confines of a single room, one of Verdi's most bombastic operas is reduced almost to a chamber piece. It does abandon many of the tired stage conventions and mannerisms that have become associated with this old standard, but controversially, it goes further than this in musical terms. Most significantly, the cast are reduced down to only five people and the chorus, who have a large part in this opera, are kept off-stage throughout. Other roles such as Inez and Ruiz, are not actually suppressed, but sung through the doubling up of roles as the drama is re-enacted by the main players.

    It's an interesting cast too, but not one that particularly impresses. Some might think that the singing lacks the necessary dynamic, power and expansiveness, but this is undoubtedly intentional. Scott Hendricks comes across the best here as the Conte di Luna, letting himself go with the flow of the concept, although he does also have perhaps the most expressive role in the opera. Misha Didyk is not my kind of Verdi singer, his choked back anguished delivery lacking any variety in vocal expression and there's no real acting ability here either. Sylvie Brunet-Grupposo is a smaller-scale Azucena than is usually required, but she suits the tone here, as does Marina Poplavskaya as Leonora. Her technique isn't always the smoothest when making the transition to the higher notes, but she has exactly that kind of expressive voice that is needed to bring depth to characterisation. Reportedly ill at the time, she looks a little uncomfortable here and seems restricted by the admittedly bizarre concept.

    Overall however, Tcherniakov's direction feels a bit weak, cutting away much of the baggage of the work certainly, but also restricting the drama with a concept that doesn't really stand up to close scrutiny. One might be happy to make some allowances in credibility to see something fresh and new brought out of Il Trovatore, but other than one or two scenes - the closing bloodbath ending certainly registers the requisite shocks - this is rarely achieved dramatically here. Musically, Marc Minkowski's conducting of the La Monnaie orchestra - his first time conducting Verdi - is much more interesting, his treatment suiting Tcherniakov's idea of a chamber production, while at the same time finding the strengths in Verdi's score and successfully getting its underlying power across without unnecessary overemphasis. Plenty of heat generated in the pit then, but not enough fire on the stage.
    7 people found this helpful
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  • Melimelomane
    3.0 out of 5 stars « TROVATORE » EN HUIS CLOS
    Reviewed in France on October 21, 2014
    Verified Purchase
    Gilles de Van, dans le « Guide des opéras de Verdi » avance que le livret du Trovatore est notoirement embrouillé, impossible à raconter et truffé de détails saugrenus ». Il continue en écrivant toutefois que « La configuration (du livret) est assez simple et les grands moments du drame assez clairement scandés pour que, renversant l’opinion courante, certains est fait du Trovatore un livret exemplaire parce qu’il est englouti par la musique qui impose la matière idéale de ses personnages et de ses conflits.»

    « Si le livret passe pour un incompréhensible charabia, c’est qu’il souffre d’une carence dramatique impardonnable, laissant tous les éléments capitaux échapper à notre regard, soit rapportés dans les narrations, soit engloutis dans les entractes. » écrit Piotr Kaminski dans son merveilleux ouvrage consacré à l’Opéra.

    Tcherniakov, dans le droit fil de ce constat procède à une dissection du livret où passé et présent finissent par se confondre.
    Nous connaissons la réputation sulfureuse de ce scénariste.
    Toutefois sa vision très singulière mérite notre attention.
    Il décide d’imposer aux cinq protagonistes principaux un huis clos.
    Dans un appartement désaffecté totalement neutre et dissocié de l’intrigue, qui s’apparente plus à un espace mental qu’à un véritable décor, les cinq protagonistes, enfermés comme des otages, vont essayer à la lumière des méandres du passé de solder le présent.
    Ce huis clos étouffant s’apparente à celui de la pièce de Sartre qui écrivait :
    « Quand nous pensons sur nous, quand nous essayons de nous connaître, au fond nous usons des connaissances que les autres ont déjà sur nous, nous nous jugeons avec les moyens que les autres nous ont donné. Quoi que je dise sur moi, toujours le jugement d'autrui entre dedans »
    Et qu’il résumait par cette phrase devenue célèbre : « L’enfer c’est les autres. »

    C’est bien ce que Tcherniakov nous propose de vivre dans son approche du Trovatore.
    De ce fait il se concentre uniquement sur Azucena, Manrico, Leonora, le comte de Luna et Ferrando, qui sont étroitement liés par de terribles souvenirs. Exit les personnages secondaires, les chœurs que nous entendons en coulisse. (La scène du Miserere prend de ce fait un étrange relief.)
    Il est évident que cette vision peut choquer, être considérée comme une trahison ; mais elle engendre une force dramatique exceptionnelle qui s’appuie essentiellement sur la musique : « la matière idéale de ses personnages et de ses conflits. »

    L’INTERPRÉTATION :
    A la tête de l’orchestre symphonique de la Monnaie qui n’a ni la transparence, ni les finesses des grandes phalanges, Marc Minkowski nous propose un Trovatore très coloré.

    Ferrando est joué par le grand Furlanetto, malheureusement en fin de carrière, dont la belle voix de basse n’est plus qu’un souvenir.
    Misha Didyk est un ténor en pleine ascension. Sa voix pleine de vaillance, aux aigus sans faille fait merveille dans le rôle de Manrico. Quelques nuances supplémentaires seraient les bienvenues.
    Le comte de Luna est incarné par Scott Hendricks. Je doute que sa voix soit adaptée à un rôle si exigeant. De ce fait il force et tire sur un organe qui s’avère insuffisant dans certains passages. Son jeu d’acteur est impressionnant. C’est lui qui impose sa volonté mortifère et destructrice à la fin de l’ouvrage.
    Les deux rôles féminins enchantent nos oreilles !
    Sylvie Brunet-Grupposo interprète Azucena. Sa voix aux reflets d’ambre incarne cette femme forte, endurcie par les malheurs que motive un désir implacable de dénouer les fils ténébreux du passé quitte à provoquer le pire des drames.
    Ma dernière rencontre (visuelle) avec Marina Poplavskaya remonte à son interprétation de Marguerite dans le Faust de Gounod que j’avais trouvée transparente. Dans Trovatore, elle incarne Leonora. De sa voix ample et nuancée elle nous fait partager toutes les beautés musicales de son personnage. Une grande et noble Leonora que j’ai hâte de comparer avec celle de Netrebko à Berlin.

    Un Trovatore, certes singulier, du fait du parti-pris de son metteur en scène, mais qu’il serait peut-être dommage d’évacuer d’un clignement d'œil, d'un revers d'oreille ou d’un trait de plume.
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