Opera Explained | Il trovatore by Giuseppe Verdi (Audio)

Opera Explained written by Thomson Smillie, narrated by David Timson. This audiobook series introduces, in words and music, the plot and background of major operas. Using the principal themes and arias, taken from the Naxos recordings of the complete works, the presentation is informative yet entertaining, enabling the listener to get more from this remarkable art form.

Soon after its 1853 premiere, Il trovatore swept with astounding popularity across first Italy, then all of Europe, before crossing the Atlantic, creating among other things a minor industry in the forging of anvils for its famous ‘Anvil’ Chorus. Critics have divided over whether it is predominantly Verdi’s supreme melodic achievement or as improbable a tale of mayhem as ever graced the operatic stage. It is perhaps both; certainly the wider operatic public for whom ‘dramatic verisimilitude’ is never a major criterion has always adored it. Il trovatore occupies a lofty spot in the operatic pantheon, being one of a trilogy of works which for many virtually define opera as an art form. Three back-to-back masterpieces – Rigoletto, Il trovatore and La traviata –, in addition to cementing Verdi’s reputation as the supreme purveyor of great music dramas, confirmed his status as Italy’s most-loved composer.

The story is improbable and the situations far-fetched. But the purpose of a libretto, surely, is to inspire the composer to write his best music. Judged by that standard, the libretto of Il trovatore is a triumph because Verdi responded to this Gothic horror story with possibly his most prodigally melodic score. Relish anew the power and beauty of the ‘Anvil’ Chorus, and the melodic fervour of the soldiers’ choruses. Di Luna is the baddie of Victorian melodrama, yet still has one of the most lyrical arias written for a baritone, ‘Il balen’. Manrico is a conventional operatic hero, yet his ‘Ah! Sì, ben mio’ is tender and introspective. Leonora’s often conventional sentiments are expressed in arias of depth and musical sophistication, and the ‘Miserere’ scene juxtaposes the Italian obsession with sin and sanctity, but with a rare beauty and grace.

Track list:
- Background
1. Italy’s history in the 19th century
2. Verdi’s popularity
3. The operas
4. Rigoletto
5. La traviata

- Il trovatore
6. Genesis of Il trovatore
7. Principal characters and the story so far
8. The gypsy woman
9. Leonora’s entrance aria
10. The role of Inez
11. Count di Luna and his place as Manrico’s rival
12. Act II: the gypsies’ encampment; Azucena’s ‘Stride la vampa!’
13. Azucena continues her story
14. Who is Manrico?
15. At the convent
16. Act II finale
17. Act III: Di Luna’s soldiers
18. Manrico: ‘Ah! Sì ben mio’; ‘Di quella pira’
19. Act IV: Leonora’s ‘D’amor sull’ ali rosee’
20. Leonora and Di Luna
21. Azucena and Manrico share a prison cell
22. Conclusion

Performance:
Leonora, Duchess – Daniela Longhi, soprano
Azucena, a gypsy-woman – Irina Tschistiakova, mezzo-soprano
Manrico, a troubador – Maurizio Frusoni, tenor
Count di Luna – Roberto Servile, baritone
Ferrando, a captain in the army – Franco de Grandis, bass
Inez, Leonora’s confidante – Zsuzsa Csonka, soprano
Ruiz, Manrico’s retainer – Jozsef Mukk, tenor
Leonora’s attendants, the Count’s followers, soldiers, nuns, messengers, gypsies

Budapest Festival Chorus
Hungarian State Opera Orchestra
Conducted by Will Humburg

Thomson Smillie began his career in the early days of Scottish Opera and has been artistic director of the Wexford International Festival, general manager of the Opera Company of Boston and general director of Kentucky Opera. He now makes a career as a writer, speech-writer and public speaker. He has a strong belief that people mature into a love of opera and travels the world encouraging a love of the art form. He has written several other titles in the ‘Opera Explained’ series.

David Timson studied acting and singing at the Guildhall School of Music and Drama. He has performed in modern and classic plays through the UK and abroad, including Wild Honey for Alan Ayckbourn, Hamlet, The Man of Mode and The Seagull. Among his many television appearances have been roles in Nelson’s Column and Swallows and Amazons. For Naxos AudioBooks he has recorded seven volumes of The Adventures of Sherlock Holmes, and directed Twelfth Night as well as playing Feste. He has narrated all other titles in the ‘Opera Explained’ series.

Next: Rigoletto by Giuseppe Verdi
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