Sfo-trovatore * Notes * 
The 2009-2010 season at San Francisco Opera opened with
Il Trovatore last night. David McVicar's production is elegant, and Charles Edwards' rotating set made the scene changes straightforward. Maestro Luisotti's debut as music director was effervescent, and the orchestra sounded fine. The chorus was clear and together. Renée Tatum and Andrew Bidlack, the Adlers in the small roles of Inez and Ruiz, both sang well and with warmth.

Burak Bilgili seemed nervous as Ferrando, his notes were a bit choppy and he was slightly off from the orchestra. Dmitri Hvorostovsky was a confident Count di Luna, with lovely phrasing. Hvorostovsky did lack effortlessness at times and his breathing could be rather loud. On the other hand, Stephanie Blythe (Azucena) seemed to have endless lung capacity and a perfect smoothness in her transitions. Her last few notes of the opera were, however, a bit ugly.

The revelation of the evening was undoubtably Sondra Radvanovsky as Leonora. Her voice scintillates, her tone is lucid, her control is exquisite. Her Act III aria, "D'amor sull'ali rosee," was beautiful. Marco Berti made a valiant attempt in the title role, his voice being rather loud and not particularly subtle. He was able to match everyone else in volume, and he even managed to convey some pretty, tender moments, along with utter despair, in the last act.

* Tattling * 
Some people kept talking during the famous "Vedi le fosche notturne," despite being repeatedly hushed. A siren was heard in Act I, Scene 2. Someone's cellular phone rang several times as Hvorostovsky sang in Act 4. At least it was during his recitative.

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11 responses to “Il Trovatore at SF Opera”

  1. EBrown Avatar

    After having seen some lackluster Trovatores, last nights performance was a revelation. I’m not ashamed to say that I actually cried. This production has it all: great singing, good acting, and amazing sets. I think I recall a dead horse’s head in the last SFOpera production, but it could be that I just recall the whole thing as an unfortunate idea, but this season’s Trovatore brings a sure hand and understanding to Verdi. Maestro Luisotti seems to be able to draw emotion from cast and orchestra without dragging things out.
    I’m sure there is a particular circle of Hell for those who, despite pleas from the stage, warnings in the program, supertitle admonitions and the glares of audience members, either do not or cannot turn off their cell phones. If you are such a Luddite as to to not know when your phone is ringing, and then be unable to hush it immediately, you should NOT own a cell phone. Had I been sitting near the person whose phone rang during “Tu vedrai che amore in terra” I might well have punched him in the nose. ‘Nuff said.

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  2. patty Avatar
    patty

    I didn’t hear the siren, talking or the phone! We were in the dress circle.
    I thought the Count was quite sharp, as did my hubby. LOVED Radvonovsky. LOVED LOVED LOVED! And until those last notes I loved Blythe as well. I wondered if something startled her … it seemed rushed somehow.
    But then Verdi DOES do rushed endings. When it’s over he just slams the door!

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  3. Dodaro Avatar
    Dodaro

    I forgot to do an impression, based on the production. Darnit.
    I was going to rotate and ask you what I was. And now it’s too late.

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  4. The Opera Tattler Avatar

    Glad to hear you enjoyed this and I’m looking forward to hearing it again.
    Well, if there is something good about being in orchestra standing room, it is that some of the audience noise is muffled. That’s terrible that a cell phone rang as Radvanovsky was singing.

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  5. The Opera Tattler Avatar

    I’ve heard both Hvorostovsky and Blythe sing better than they did on Friday, but they both have beautiful voices, to be sure.

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  6. The Opera Tattler Avatar

    I’m sure you’ll be able to work it in sometime, don’t worry.

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  7. Robin Avatar
    Robin

    I agree with you – something must have startled Blythe…..I saw 4 rehearsals before Opening Night – and she was amazing each time.
    Everyone else – except for the Tenor – was sterling! Luisotti is a true magician – making (almost) everyone rise to his lofty levels of excellence! Wait until you hear Patricia Racette in “Trittico”!!!!!! Bring tissues!

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  8. The Opera Tattler Avatar

    I really like Blythe, so I was a bit confused. But no one is perfect, of course!

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  9. Roberto Avatar
    Roberto

    I went to the 9/16 performance. It was very good, but nobody was flawless.
    I liked Marco Berti a lot. One of the best tenors I’ve seen recently in the city.
    I agree with everything that has been said about Radvanovsky. Is she is not a star already, she will be a big one if she continues singing like that. Totally amazing! My only remark was a kind of b flat at the end of her last duet with Hvorostovsky, in the 4th act. It didn’t sound very good. I didn’t understand that note.
    I also noticed that Hvorostovsky had some problems with his passagio. His voice is a little light for the Count, but he sang one of the most beautiful “Il balen” that I have ever heard.
    As for Blythe, I wanted to like her more. She was impressive, but sometimes her upper register bothered me a little bit. I hope that the problem was me, not her. I certainly want her to come back.
    Luisotti seemed to be very at ease with the orchestra.

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  10. The Opera Tattler Avatar

    Sounds like you enjoyed it! I’m looking forward to reading the score and listening to these performers again soon.

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  11. MM Avatar
    MM

    I saw Trovatore this afternoon with the second cast di Luna, Quinn Kelsey.
    I’m sorry I missed Hvorostovky, he’s always been a fave of mine — but I have to say, Kelsey was TERRIFIC. He is an enormous man and more than a bit awkward on stage — doesn’t offer the eye candy Dmitri does, but wow, what a singer!
    Overall, this was a terrific Trovatore. Nice to see SFO can still do a decent Verdi.
    After the company’s last few attempts, I had really begun to wonder ….. !

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