Time Journal cowl, March 10, 1961, shortly after Value’s Met debut
I solely have 43 and I’m not going to debate all of them! Which means I’m certain to go away out someone’s favourite and subsequently I can be known as ignorant, uneducated, and/or out of contact and residing up to now. Be that as it might, I’m solely going to debate my favorites – I repeat my favorites – and those who I really feel are vital. They embody studio, reside, and video and although recordings of Il trovatore date again almost a century, I’m going to debate solely these which might be from my lifetime – and, no, that isn’t fairly 100 years – however shock! it does embody present performers. Nor will I talk about any recording by the likes of what was the most important recording firm and whose stars used to incorporate the best, e.g., Tebaldi, Sutherland, and Nilsson, however now resorts to promoting recordings of unmistakable inadequacy. (Okay, I’ll say it: Bocelli as Manrico?)
I’ll get proper to the purpose and begin with the conclusion: my favourite recording and the one that’s on the high of just about each critic’s record, the one recording that if pressured to have just one recording of the opera is the 1969 RCA with Leontyne Value, Fiorenza Cossotto, Placido Domingo, and Sherrill Milnes with Zubin Mehta conducting. The recording is completely full, the primary to be so. (Okay, it doesn’t embody the ballet, which could be discovered on the Sutherland/Pavarotti/Bonynge model, however the ballet accurately belongs solely on the French model, Le Trouvère.) After I say there are not any weaknesses within the forged, that doesn’t suggest that every of these singers isn’t the most effective of their given position.
THE PRICE IS RIGHT
With the plain exception of Aïda, the Trovatore Leonora was the position most related to Leontyne Value in addition to her most carried out. When she obtained the Kennedy Heart Honors in 1980, Zubin Mehta quoted a New York critic saying “Leontyne has come down from heaven to sing Il trovatore for us.” As mentioned above, she made her Met debut within the position on January 27, 1961. She had already recorded the position for RCA in 1959 with Elias, Tucker, and Warren. There can be those that argue she was higher within the earlier recording, maybe, however a decade later she reveals an additional mastery of her artwork in a efficiency distinguished by a richer sound and nonetheless these superb excessive notes. Her “D’amor sull’ali rosee” is so ravishing it is among the only a few instances one desires to applaud at a studio recording. She additionally recorded the position once more in 1978 with von Karajan for EMI and although she continues to be nice, it pales by comparability to the sooner performances, as does your complete recording. For the document, she does sing the Kitty Carlisle-hi-Cs, or a minimum of one in all them within the Karajan, however not the sooner ones. Her solely excessive observe interpolation moreover the usual D-flat on the finish of Act I, is one within the RCA when she is pleading with the Depend and it’s really thrilling. The Met legitimately launched the matinée broadcast of February 4, 1961 a couple of days following the debut (that’s additionally out there) however the extra legendary efficiency is the Value, Simionato, Corelli, and Bastianini, von Karajan conducting from Salzburg a year-and-a-half later mentioned under. It virtually nudges out the RCA for high spot! As a bonus, Leontyne sings each KC-hi-Cs gloriously!
RCA 1969:
Rival recordings
Again to the RCA; falling into the good custom of Italian mezzos comparable to Stignani, Barbieri, and Simionato, Fiorenza Cossotto is nothing short of excellent as Azucena. Together with her vivid vocal appearing, at instances the voice is like molten lava, it simply pours forth. The explanation she isn’t within the cowl picture is as a result of that picture was accomplished for the brand new Met manufacturing which was accomplished with Grace Bumbry, an equally excellent and fiery Azucena. I used to be stunned not too long ago after I was intently following the rating that when Cossotto sings what seems like it might be an interpolated excessive C close to the tip of the duet with Manrico is definitely within the rating. Only a few mezzos take it (or are able to taking it). As she aged, the voice turned form of right into a buzzsaw. I as soon as illustrated a duet from Adriana between her and Mirella Freni in 1989 as:
Be that as it might, Cossotto was the fabulous Amneris at Value’s televised farewell in 1985, sixteen years after this recording. This was Placido Domingo‘s first full operatic recording with many, many to return. As all the time, he sings with an innate sensitivity and cultivated grace whereas impressing along with his stunning voice. Regardless of that, in comparison with Corelli he appears a bit uninteresting – however who isn’t? Sherrill Milnes suits the Depend completely, nothing extra want be mentioned. It seems that the often uninteresting Bonaldo Giaiotti might be the most effective Ferrando of the lot. As a bonus, Zubin Mehta leads a surprisingly delicate and sensibly paced efficiency. Like his recordings of Turandot and Fanciulla, they’re the the reference recordings. I quote from a 1973 evaluate by Kenn Harris in his Opera Recordings e-book: “The tenor is probably miscast in so heavy a job as Manrico. Younger tenors who push their voices in such heroic components don’t all the time get to be outdated tenors. Sherrill Milnes, then again, is in no hazard of harming his voice within the position of Di Luna, singing with eloquence and energy, though providing little expression of the Depend’s villainous nature.” Wow! Was that ever improper!
Is it this one: or this or this?
In my lifetime, the good Leonoras have been chronologically Zinka Milanov, Maria Callas, Leontyne Value, Montserrat Caballé, and Anna Netrebko. That isn’t to say there haven’t been different fantastic ones (Tebaldi, Stella, Arroyo, Sutherland, Scotto, Meade, Radvanovsky instantly come to thoughts), however these 5 will go down because the “legendary” ones.
Taking them so as, apart from Leontyne, the recording that the majority critics and the others of us reference is the primary RCA (there are two others each with Value): RCA 1952 with Zinka Milanov, Fedora Barbieri, Jussi Björling, and Leonard Warren; Renato Cellini conductor. Together with her regular modesty, Milanov has described this Trovatore as her most interesting achievement for the gramophone. Umm…, as acknowledged each time I point out her, I’m not a Zinka fan. Undoubtedly, the voice is ideal for the position, luxurious, superlative in coloration and weight, and often she floats a observe in the best way which gave her a fame. However she is heavy-handed with the coloratura and her sliding out and in of notes isn’t what could possibly be thought of portamento. Given her status and fame, Zinka will need to have been greater than somewhat peeved when RCA launched the Björling Memorial Version along with his identify considerably extra distinguished than hers. Nevertheless, Björling’s Manrico radiates magnificence and refined legato. There isn’t any extra fantastically sung Manrico than Björling’s. That makes up for what he lacks in pleasure … Corelli he ain’t. Warren’s di Luna could be described the identical means – aristocratic, elegant, completely sung with class and precision and a tad uninteresting. Barbieri’s Azucena is considerably the other, a bit demented as Azucena needs to be. Barbieri sings higher right here than in different variations. Cellini isn’t probably the most inspiring conductor. It’s severely minimize. So, not my favourite Trovatore; others will disagree.
The identical could be mentioned concerning the Callas Trovatore: EMI 1956 – Callas, Barbieri, DiStefano, Zaccaria; von Karajan. Its singing, sound (it’s mono and if it weren’t for EMI producer Walter Legge’s stubbornness concerning stereo, it simply may have been), considerably insufficient casting, and its closely minimize version hold this from high consideration. Even so, it’s nonetheless worthy of advice … albeit not mine. When it comes to sheer sound, Maria Callas’s Leonora should rank behind Milanov’s and plenty of others as nicely; however the place realization of musical values is worried, it’s most likely the most effective on data. Her portrayal of a determined Leonora is riveting, her voice is at its greatest and totally below management, and her deep data of bel canto model and her particular reward for word-painting makes this portrayal the usual for others to comply with. If solely her voice wasn’t so unattractive. That ends the topic for me.
Oh, sure, she was the primary to document the “Tu vedrai” cabaletta, albeit one verse. Regardless of all that, the pairing of Callas and Karajan in an opera recording together with an orchestra, La Scala, versed within the Verdian efficiency custom, brings it again into high consideration. Herbert von Karajan has an extended, distinguished historical past with the opera a minimum of should you disregard his ultimate recording from 1978 additionally on EMI which for probably the most half was a catastrophe … Value nicely previous her prime, a dreadful tenor (Bonisolli), uninteresting baritone, albeit an thrilling over-the-top mezzo (Obratzsova), and conducting that attracts consideration to itself – both too loud, too tender, too gradual, too quick. However in 1956, Karajan was totally in management and most critics really feel that is the most effective performed Trovatore and thus reaches legendary standing. It’s a extremely dramatic and thrilling efficiency, combining a real sense of italianità and highly effective orchestral presence. The result’s exhilarating and one has solely to pattern the violins within the Act I finale to grasp the type of magic Karajan did with this rating. On the draw back, Giuseppe Di Stefano is severely over-parted. He actually lacks the perception that Callas has each musically and histrionically; being impassioned isn’t the identical factor. This can be a singer who squandered his ample items. Björling is every thing this tenor isn’t. Each Barbieri and Rolando Panerai are nice. All in all, although, Callas stays legendary within the position although she carried out it little or no. If one actually desires Callas, apart from for the conducting, there are a number of reside performances with some extra thrilling companions comparable to Björling (if yow will discover it – you possibly can’t), Simionato, or Warren.
If one actually desires Karajan, once more persist with the reside Salzburg Karajan efficiency. Salzburg July 31, 1962 – Value, Simionato, Corelli, Bastianini; von Karajan. The published was first out there on pirate labels however later launched legitimately on DG. Every of the soloists aren’t solely in excellent type, however the most effective in every of their roles. Clearly, that is the time to speak about Franco Corelli. There are those that lament an absence of refinement and subtlety in performers comparable to Corelli and Del Monaco on this opera. Trovatore is the loudest, trashiest, i.e. demented, most absurd and thrilling of Grand Operas and what it doesn’t want is understatement. It desires singers whose voices can fill an opera home. And no singer may fill an opera home like Franco Corelli, “Golden Thighs” as he was nicknamed. He was the entire reverse of Björling, but the 2 tenors are often voted the 2 most standard tenors. Corelli was the Italian tenor whose powerhouse voice, charismatic presence, and movie-star beauty earned him the adoration of opera followers from the 1950’s till his retirement in 1976.
Mr. Corelli was faulted by some for the sheer athleticism and uncooked ardour in his singing; those self same qualities drove different opera buffs to ecstasy. The vibrancy and white warmth of Mr. Corelli’s singing allowed him to shamelessly extend full-voiced, climactic high notes and Il trovatore was the perfect opera to showcase that expertise (or fault, to the ears of critics). Corelli grandstands shamelessly however irresistibly, and though he typically sang “Di quella pira” down a semitone to finish on high B somewhat than C, he all the time threw in an enormous high D-flat on the finish of Act I and a few beautiful prolonged Bs and B-flats elsewhere. Corelli’s studio efficiency on EMI fails to match the pleasure of any of his reside performances. Value, too, is just divine: thrilling, poised and deeply transferring, managing those self same D-flats, trills and terribly agile coloratura to decoration the good line of the Verdian spinto soprano. You’ll by no means hear majesty and energy as displayed right here by each Value and Corelli. They’re arguably higher within the Met broadcast of February 4, 1961, however Simionato, Bastianini, and von Karajan shift the steadiness in favor of Salzburg.
Salzburg 1961:
In my pantheon of nice Il trovatore recordings and performances comes one which ties with the 1969 RCA for first place. It isn’t the three/17/73 broadcast from the Met however the tour efficiency that adopted almost a month later: 4-11-73 Met – Caballé, Cortez, Domingo, Merrill, Plishka; Cillario conducting. I’ve already talked about it within the earlier installment with the pattern of the Caballé traversal of the good Act IV scena. As I mentioned, it’s a completely demented efficiency as any good one in all Il trovatore needs to be. Who can say why one efficiency with largely the identical forged works higher than one other? What ignites the viewers? This viewers certainly knew as a result of they don’t even let Paul Plishka (as a substitute of the mush-mouthed Ivo Vinco, aka Mr. Cossotto) end his narration earlier than they burst out in applause. Similar factor occurs close to the tip of the Azucena/Manrico duet. And when these scenes are accomplished, the viewers goes berserk. Maybe it’s the presence of the substitute for Mrs. Vinco, i.e., Fiorenza Cossotto, within the each visually and vocally putting Romanian mezzo Viorica Cortez.
Cortez made her Met debut as Carmen in 1971 and moreover Carmen and Azucena, she additionally sang Amneris, Dalila, and Giulietta in Hoffmann. I consider her solely Met broadcast was with Scotto because the Princess in Adriana. Her performances and fame have been restricted, as getting out of her residence nation of Romania was all the time a problem till she grew to become a French citizen. After that she was overshadowed by the much-recorded Cossotto, Bumbry, and Verrett. The voice was stunning and really dramatic. She was electrical as Azucena. On this efficiency, Placido Domingo manages a bit extra pleasure although the Cs (or actually Bs) nonetheless simply by no means fairly make it. After I noticed Robert Merrill again in 1964 because the Depend, I keep in mind the discuss amongst the standees that Merrill would have been booed if the voice itself wasn’t so stunning. He simply stood there emoting nothing – the quintessential park-‘n-bark performer. Seven years later, the one factor that had modified was the voice was not stunning; actually, the ‘Balen’ goes utterly awry – improper notes, improper tempos, simply horrible, however a minimum of he doesn’t actually harm the efficiency. Montse nearly makes him disappear within the duet. Fabulous efficiency, although! Sadly, I can’t discover it on-line any longer. Discover it should you can.
Value and Caballé are my #2 and #3 favourite sopranos and never essentially in that order. (It is determined by the day of the week.) #1 is and all the time can be Renata Tebaldi. La Sublima additionally recorded Trovatore; it was a significant recording with an virtually all-star forged again in 1956 on Decca: Tebaldi, Simionato, Del Monaco, Giorgio Tozzi, and because the Depend, Ugo Savarese – you say, “who?” I can solely assume that Bastianini was not out there … main let down. Del Monaco usually is loud and obstreperous and sweating testosterone. The nice Simionato and Tozzi stay unscathed and are wonderful. However … poor Renata. She may be the most effective Leonora (Forza) however not this Leonora. Regardless of being in prime vocal situation, she simply isn’t minimize out for this florid music and we really feel her discomfort. Nevertheless, she does surprisingly nicely particularly with the primary aria and its cabaletta. Nobody sings it with a extra stunning sound. Simply don’t count on to listen to any “little notes,” a lot much less a trill – and the position of Leonora, this Leonora, is crammed with trills. The “D’amor sull’ali” turns a bit listless, however one can nonetheless luxuriate within the superb outpouring of sound. Nonetheless, she was so proud of it that she was singing the “Tacea la notte … Di story amor” in a lot of her concert events whilst late as 1966 and once more: surprisingly nicely. Decide for your self:
Undoubtedly deserving of point out is the different Renata, Renata Scotto, if for no different purpose than she opened the Met 1976-77 season in Trovatore together with Luciano Pavarotti again once they have been talking to one another. The next season she sang a broadcast of it on April 9, 1977 with Verrett, McCracken, and Quilico. I didn’t suppose a lot of it (it’s out there on Met On Demand). In early 2023, Chris’s Cache on Parterre featured a number of in-house recordings of Scotto and an in-house recording in Boston from a few weeks after that broadcast. Whether or not it was as a result of her completely different companions, Cossotto and Bergonzi, or from a two week relaxation, she was in superior – for her – voice. Sure, the same old earmarks of her singing are all there – squally tone, pinched excessive notes, and an innate sense of how the music ought to go. No matter one would possibly consider her, she was an outstanding singing-actress. Pitch may be pressured at instances, however Carlo Bergonzi stays the supreme Verdi tenor and Cossotto the supreme Verdi mezzo. Recorded sound here’s a bit cavernous however fairly listenable. A rewarding efficiency.
THE ‘BEL CANTO’ TROVATORES
Though separated by a couple of quarter of a century, two industrial recordings have been made on the finish of the earlier century and so they couldn’t provide extra completely different concepts of what makes up “bel canto.”
Let’s begin with the 1976 Decca – Sutherland, Horne, Pavarotti, Wixell, Ghiaurov; Bonynge debacle. The thought was to supposedly current the opera in a “Donizettian” means together with elaborations and the like. Bonynge additionally incorporates some particulars of the 1857 Paris model, Le Trouvère. Bonynge has demonstrated repeatedly that he’s principally drawn to the ornamental in music, with structural continuity and dramatic depth low down on his record of priorities. The failure right here has extra to do with the forged than the rest; actually, the recording was held again two years earlier than launch, I suppose so a few of it could possibly be doctored or no matter. Joan Sutherland, La Stupenda, is in errrr… late profession voice, a lot of the singing is unsteady, not a regular Sutherland trait, although her mooning method is. The position by no means actually suited her though not disastrous as her Adriana recording is. A few of her ornamentation is at greatest incongruous and at worst bizarre and disturbing. For my part, ornamentation ought to improve the vocal line not essentially draw consideration to itself or break the movement of the melody. The elaborations within the opening arias just do that; they appear misplaced. Surprisingly, they’re within the rating of the French revision aside from the truly written excessive D-flat following the double Bs and Cs within the “D’amor,” that breaks the road of the climax and completely ruins the temper of the attractive melody; technically although it’s not an embellishment. The opposite interpolations are commonplace. Some you win, some you lose.
Sutherland is actually suited to a lot of the Verdi she sang, however Marilyn Horne isn’t. I’ve heard Horne described as The Biggest Singer within the World whereas Sutherland as The Voice of the Century. Difficult, however I get it. Actually Horne sings all of the notes – written and unwritten – brilliantly; they only don’t gel. It’s a pleasure although to listen to all of the trills in “Stride la vampa” so fantastically rendered. Ingvar Wixell is equally misplaced; he simply isn’t an Italianate baritone, although he does sing a ravishing “Il balen.” Luciano Pavarotti has the proper of voice for Manrico however he pushes by attempting to make it sound a few sizes greater. As for Nicolai Ghiaurov, the second he began singing, I sat up. Instantly one is aware of this can be a main voice. However one way or the other, he’s simply not fairly proper both, maybe he simply overwhelms the half.
The recording isn’t the misconceived enterprise I’m seeming to point. There are a lot of good moments, attention-grabbing ones. The actual draw although is that that is the one studio recording to supply the entire ballet, not counting any recording of the French model. I like opera ballets and all which were excised these days ought to all be reinstated. Nevertheless, a scene in any other case 12 minutes lengthy, filled with 26 minutes of ballet, provides as much as a fairly misshapen and indigestible meal as I see it. There’s a answer and I’ll get to it quickly.
Sutherland and Pavarotti surprisingly are significantly better some eleven years later on the Met in what was to be Dame Joan’s final efficiency on the Met, 12/19/87 Met – Sutherland, Verrett, Pavarotti, Nucci; Bonynge. Every little thing right here works for her and he or she stays La Stupenda. Shirley Verrett can also be fairly stupendous. One could ask, how is it that Sutherland’s ultimate Met broadcast is so assured and ideal and the Decca a flop? Maybe the studio attracts extra direct consideration to the voice, perhaps it was only a good day, in any other case, ¯_(?)_/¯
The opposite industrial (versus studio as it’s reside from La Scala) of the “Bel Canto” model is the 2000 Sony – Frittoli, Urmana, Licitra, Nucci; Muti in any other case “The Muti” recording. My instant thought after a couple of minutes of listening was, “Quale orror!” To place it mildly, that is quick and hard-driven. But one way or the other, by the tip of Act II, I discovered myself stepping into it and in the end I went again and listened to it once more with a better appreciation. There’s a sense of ahead motion and theatrical pleasure that makes the efficiency uniquely satisfying. Muti’s thought was to strip off the verismo varnish utilized by previous generations, to disclose an undreamed-of bel canto refinement. Muti’s thought of bel canto may be very completely different than Bonynge’s, to say the least! Gone are ANY interpolated excessive notes! (Extra on that later.) I’d wish to suppose they don’t seem to be missed, however they’re. The singers are all good although not memorable in comparison with these already talked about. It’s good, although, to listen to Salvatore Licitra once more. This can be a recording that needs to be heard a minimum of as soon as. Sadly, it’s not on-line although there are many excerpts from it. I doubt that works, although, as it’s the totality of the efficiency that makes this conception work.
In the summertime of 2007, Bel Canto at Caramoor on the beautiful property in Katonah, NY carried out their true “Bel Canto Trovatore” with Juliana Di Giacomo, Ewa Podles, Francisco Casanova, and Daniel Sutin below the path of Will Crutchfield. The succesful forged aren’t the vital names right here, however the conductor and musical scholar is. His scrupulous detective work produced a Trovatore that could possibly be seen because the apex of bel canto, with uncommon cadenzas and ornamentation adopted from scores utilized by performers of Verdi’s day. The opposite draw was a uncommon alternative to listen to the magnificent Polish contralto Ewa Podles.
*Earlier than I finish this I ought to say that I’m not actually completely obsessive about excessive notes. In virtually each evaluate or article I’ve learn on Trovatore, there may be some form of point out of them. Actually, the reviewer in The Metropolitan Opera Information to Recorded Opera spends 4 out of 5 paragraphs of his opening remarks discussing them and the cuts. In brief, I strongly really feel that most often, omitting the same old excessive observe on the finish of a cabaletta or act will trigger the ending to fall flat. Caballé is the one singer I’ve ever heard who can persistently sing an ending with such power as to not make one miss the excessive observe … nicely, virtually anyway. Moreover, concerning ornaments, the double arias of the bel canto interval have been often written with two verses and the second for which even the composer anticipated the singer to supply their very own elaborations. It’s the model, it’s the interval. Muti is improper to omit them.
For the document, Verdi revised Trovatore for the Paris Opèra in 1857. That is the Paris model, Le Trouvère. The revisions are comparatively minor and a few of them discovered their means into the usual Italian unique. Some good issues, some – nicely, I’m not so certain … perhaps it was the français. The large distinction, in fact, is the inclusion of the ballet. This was the very last thing I listened to and it wants extra listening. On the very finish, the ending is expanded; I felt like I used to be on the planet of the trial scene on the finish of the unique model of Don Carlos.
DEMENTED AND FABULOUS!
This leaves just one extra efficiency to speak about, and it’s a doozy! It’s additionally the one video I’ll speak about although there are three from the Met (1988 within the Melano/Frigerio manufacturing with Marton, Zajick, Pavarotti, and Milnes; 2011 within the present McVicar manufacturing with Radvanovsky, Zajick, Alvarez, and Hvorostovsky and once more in 2015 with Netrebko, Zajick, Lee, and Hvorostovsky his final Met efficiency), in addition to an excellent macho, and customarily offensive, model from Covent Backyard 2002 with Villarroel, Naef, Cura, and Hvorostovsky, and plenty of others from throughout. However it’s the latest from 5 years in the past, 2019 from the Enviornment di Verona, with an extremely wonderful Anna Netrebko; Dolora Zajick, sure, once more 31 years after her Met debut within the position and exhibiting and sounding each a type of 31 years; a bearable Yusif Eyvazov (the now ex-Mr. Netrebko), and a barely bearable Luca Salsi Italy’s newest excuse for a baritone.
It’s exhausting to consider that when Netrebko first sang the position on the Met, everybody felt that she was simply concerning the equal of anybody named on this essay. No, the voice isn’t as stunning as Leontyne’s; no, she will’t float a pianissimo like Zinka, nor can she deal with all of the little notes like Montse, however she sings all the notes and sings them excellently. She is the one diva to sing BOTH verses of the Act IV cabaletta in a reside efficiency which makes for a stable 18 minutes of very difficult singing adopted by one other 8 minutes of duet with the baritone. And she will act. And she will journey a horse. What she will’t do, or doesn’t do, is add any of these interpolated however essential excessive notes, like on the finish of Act I and the tip of the simply talked about duet, that may in any other case put her on the high of the record. So, there’s a current-day singer I love!
I might identify the horses Enviornment and Verona.
What makes this manufacturing so distinctive and demented is it’s the Zeffirelli manufacturing that out-Zeffirellis another Zeffirelli manufacturing. And it’s all fabulous! So over-the-top and I like each minute of it. It culminates on the finish of Act II with the set opening as much as probably the most elaborate reredos (the big altarpiece behind an altar) I’ve ever seen… after which the horses come on and Trebs and Yusif journey off on them. FABULOUS!
Did I point out, the ballet is completed? Right here is the proper answer. It’s chopped up and the unsuitable music eradicated and cut up between its supposed regular place within the Act III troopers scene and the extra acceptable camp scene at first of Act II. That is the best way it ought to all the time be accomplished.
And accomplished that is, besides, as promised, yow will discover the Opera Information parody article I discussed scanned right here.
As an alternative of studying all of the above, you might have simply jumped right here to know that my #1 alternative – the must-have model – is the RCA with Leontyne and Mehta conducting. My alternate alternative if yow will discover it’s the 4-11-73 Boston Met efficiency with Caballé, Cortez, Domingo, and Merrill. What yow will discover simply is the 1962 Salzburg with the dream forged: Value, Simionato, Corelli, and Bastianini with von Karajan conducting. None surpass these artists. And #4 is the video of the Verona dementia with Netrebko, commercially out there.
Beginning tomorrow, there may be one other Trovatore revival on the Met. I’m wondering if any of it is going to ever be talked about in an replace of this essay…
“Quale orror!” ~ Andy
