The modern choice Zubin Mehta has made a hallmark for himself here. The conducting is superb and the recording quality is perfect and clear. Mehta works extremely well with his soloists and the orchestra is both a gentle lover and a fearless, trusty steed where necessary, being to each voice the right accompaniment.
Take Benaudi, for example. Her voice, while technically equal to the task, lacks the dramatic power of, say, Leontyne Price in the Role (though it must be said that Price commands a formidable arsenal of skill, beauty and prowess...among them, the most chillingly sublte pianissimos). So Benaudi's is a very delicate, sympathetic flower of a Leonora. Try her Convent scene: "Degg'io Volgermi a Quei..." is so achingly rendered, with the Orchestra del Maggio Musicale Fiorentino as the most careful guardian of that delicate moment.
That said though, Benaudi's Leonora is good but not outstandingly so and delicacy need not preclude moderate drama.
Pavarotti here displays more of what makes him an amazing singer but one of my least favourite tenors. Pitch, range, bravado, subtlety...it's all there but there is at times a perceptible 'pant' at the end of his phrasing. Vocally he is amazing but the evidence of physical unfitness also comes out in the voice.
Shirley Verrett however, can only be experienced...barely described! This is the UNRIVALLED star of the recording. Her Azucena newly ensorcells you with each entrance....not to mention her recollection of burning her own child in Act 1, or again in their Prison Scene! Her idiomatic diction, perfect pitch, amazing range (that chest register is astounding!) and sheer DRAMA make her the ABSOLUTE BEST Azucena that I have ever heard.
Leo Nucci too makes a brilliant Conte di Luna, with a rich, sonorous bass/baritone. He may not 'snarl' as much as some others in the past but the malice comes across with enough potency regardless. And d'Artegna is simply excellent in his supporting role of Ferrando. He conveys the strained vigilance of his sentinel role, ever-watchful to reveal the perpetrator of a past heinous crime.
Overall, this is a very good recording. It isn't one of my favourite Verdi operas however (the music at times doesn't convey the tragedy of events, whereas at other times, it is unparalelled in this regard). Also, it is expensive (although for me, Verrett alone is worth the price!). Had Domingo been the Manrico, I would probably have no quibble. However, Pavarotti isn't always my hero of choice for the qualities outlined above (although he was a WONDERFUL Pinkerton alongside Freni). Otherwise, a very good recording.
Zubin Mehta understands Trovatore & Banaudi is discovered! Il Trovatore was written at a time when the atmosphere was more earthy than any living person has ever experienced. It was a challenging time but underscored by an ever present need for security, beauty, richness of spirit and autonomy. It was the conclusion of an era when people were profound enough to reflect on the injustices done to them and plot a course; sensible and practical, for their victory. They had learned cause and effect and that actions have consequences. Needless to say, this is VERY different from our world, where Forrest Gump type characters without background have been allowed in very important positions which have led to many horrible things; among them war, death, terror, a certain demise in art, culture, and appreciation of diverse forms of beauty. If Trovatore has lacked dignity it may be for these reasons.
Trovatore lacks essential action. It is mystical because the main drama unfolds as storytelling. That is possibly why Verdi inisisted on fast vigorous conducting, and accented, less connected words within phrases. This sustains the drama and interest. In this regard, Mehta is the most excellent conductor of Trovatore since Toscanini and Molajoli. The stage should always be sombre, particularly during Azucena's and Leonora's scenes, and the music projects the appropriate shade within its sonority. However, slow von Karajanesque conducting ruins the line of intensity and accent required to sustain interest in storytelling as the drama is third hand to the audience, second hand to the characters.
Antonella Banaudi was possibly the very last soprano who brought authentic grandezza to the role of Leonora. Her singing at times recalls Anita Cerquetti and Gabriella Tucci (even a touch of early Price is thrown in). She was one of three promising divas to emerge in the 1980s & 90s which brought a grandness to Verdi's heroines. Aprile Millo ( similar to Tebaldi, Milanov, Caniglia) and Susan Dunn (similar to Price, Crespin, Rethberg) were the the other two, but whereas Dunn's blithe tones could match any voice of the past she was not authentic sul palcoscenico, and Millo, the most technically finished was a modern version of grandezza, sort of a copycat, a little self conscious, but both ladies were superb. Banaudi seemed unable to match the vocal finish of her two sisters, but her voice really had that authentic Italian sheen and on stage the purity of intention, her nobility of her movement; the smoothness of her gestures, the long graceful steps, the quick action so dignified is superiority itself and through this she was able to project a state of mind of the time -- and here her high C was an edgy powerful and historic note. Perhaps this, more than the voice, is what we lack today. Her type of acting is not "method", but a kind of "5 Movement" system validated by her intention. ANTONELLA BANAUDI WAS MADE FOR THE STAGE.
Zubin Mehta really understands Il Trovatore. His rugged approach emphasizes accent and rhythm so essential to this work and he achieves a vivacity that would have pleased master Verdi if not the current milieu, which are soft core and hard hearted. When you throw in the High C's of Luciano Pavarotti, and dark colors of Verrett, and the stretched tones of Nucci, you will have a very authentic Trovatore; more real than beautiful and very engaging.
A Curiosity, But Not Horrible. This recording made either during or after a string of live performances in Italy was a showcase for Luciano Pavarotti. And he does a pretty good job as Manrico. He was certainly not a young man anymore, but his voice still had the same distinctive beauty and ring. But he sounds like he just barely made it through the sustained high note at the end of "Di quella pira." I give Pavarotti 4 out of 5 stars. I had not heard of Antonella Banaudi (the Leonora) before this recording, and I haven't heard of her since. While her voice is attractive enough it sounds as though this role is just too much for her. Not to mention she can't handle the coloratura. I give a lot of credit to Leo Nucci's Count di Luna. He deserves more credit than he usually recieves. His voice is attractive and he sings this role with passion. Shirley Verrett does a great job as Azucena.
ONLY VERRETT This Trovator to needs know for Verrett Azucena. Her voice is deteriored, but timbre and range(emit cleary the D5 of "tu la sprimi del mio cor")are magnificient. Not one Azucena, i repeat, not one harmonize this personage as Shirley Verrett. In "strana pietà" she is capable to reveal her bewildemont and in her "Ah!" when is in front Luna's count to give a physical sensation of to go back: fantastis!
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