Giuseppe Verdi "Il trovatore" (opera in four acts ) (Opera)

Il trovatore (The Troubadour) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Salvadore Cammarano, based on the play El trovador (1836) by Antonio Garcia Gutierrez. Cammarano died in mid-1852 before completing the libretto. This gave the composer the opportunity to propose significant revisions, which were accomplished under his direction by the young librettist Leone Emanuele Bardare, and they are seen largely in the expansion of the role of Leonora.

The opera was first performed at the Teatro Apollo, Rome, on 19 January 1853 where it "began a victorious march throughout the operatic world". Today, in its Italian version, it is given very frequently and is a staple of the standard operatic repertoire.

Pier Luigi Pizzi on his production of the opera
In my opinion, Il trovatore is a stunning example of Verdian melodrama, a point of reference for many other composers in the 19th century. The perfection of the opera’s musical form, its engaging plot, vivid choral scenes and the unusual beauty of the melodies allowed Verdi to convey with great power human passions including love, hate and jealousy as well as revenge and death.
Returning once again to this opera, so adored by many, and doing so at a mature age, I plan to focus on the psychology of the characters. I will also focus particularly on the intense dramatic story being told. The characters of the protagonists seem to me to create a strong impression.
Azucena is, of course, the lead female character: she treacherously fans the flames of the conflict between Manrico and the Conte di Luna, two brothers unaware of their blood ties, and awakens feelings of rivalry and mutual hatred between them.
I find that the Conte di Luna is another protagonist on whom Verdi bestowed the most noble and passionate arias. The insistence with which he seeks out his lost brother, the ardent passion he feels for Leonora, his fervent desire and his malice at unrequited feelings make the Conte di Luna a powerful dramatic character.
In comparison with him, Manrico, who has the privilege of performing the opera’s most famous aria, remains vulnerable and immature, young and inexperienced – a mere pawn in the hands of the gypsy woman. Of Leonora it could be said that she is one of the most romantic characters in the history of opera. Two arias that Verdi assigned to this role – Tacea la notte placida and D’amor sull ali rosee – rouse the most incredibly tender thoughts for this courageous woman who resolves to sacrifice herself for the sake of love.
This opera stirs powerful emotions in me, and I would like to convey this noble feeling to the audience.

The stage fate of this opera by Verdi at the Mariinsky Theatre is remarkable for the names connected with it – stage director Sergei Radlov, designers Valentina Khodasevich and the conductor Vladimir Dranishnikov (1933 production) and the singers Galina Kovaleva (Leonora) and Irina Bogacheva (Azucena) who appeared in the 1971 premiere. Anna Netrebko will appear as Leonora in the Mariinsky Theatre premiere opposite Ekaterina Semenchuk as Azucena. On 31 December the role of Leonora will be performed by Tatiana Serjan.
Also working on the 2013 premiere as the stage director and set and costume designer is Pier Luigi Pizzi, one of the most respected opera directors in Italy. Pizzi has worked with numerous theatres throughout the world. He made his debut as a director in 1977 at the Teatro Regio in Turin with Wolfgang Amadeus Mozart’s opera Don Giovanni. The Opйra Bastille opened its doors to the public with Pizzi’s production of Berlioz’ Les Troyens in 1990. The stage director has mounted numerous productions for the Rossini Opera Festival in Pesaro as well as for the Teatro alla Scala. In his work, Pizzi focuses on historical details, retaining his belief in the principle of “culture, severity and the imagination” as well as the conviction that stage directing should not overwhelm the music.

Pizzi has worked on the opera Il trovatore several times before: “Il trovatore is an icon of Verdian melodrama, a starting point for many composers of the 19thcentury. The perfection of the opera’s musical form, its engaging subject, the vivid choral fragments and the incredible beauty of the melodies allow Verdi to convey human passions to as great a degree as possible: love, hate, jealousy, revenge, death...
“Returning to this work which so many people love and doing it at a mature age, I am trying to focus on the psychology of the characters and the tale itself, which is filled with dramatic twists and turns.
“This opera arouses strong feelings in me, and I would like to convey this noble emotion to the audience.”

The Musical Director and Conductor of the production is Valery Gergiev. Also working on the production are: Massimo Pizzi Gasparon (Co-Production Designer), Vincenzo Raponi (Lighting Designer), Emil Faski (Choreographer), Marina Mishuk (Musical Preparation), Pavel Teplov (Chorus Master) and Maria Nikitina (Italian language coach). The roles are being rehearsed by Olga Savova, Zlata Bulycheva and Nadezhda Serdyuk (Azucena), Roman Burdenko, Vladislav Sulimsky and Alexander Gergalov (the Conte di Luna) and Hovhannes Ayvazyan, Akhmed Agadi and Avgust Amonov (Manrico).