Verdi’s Il Trovatore is one of his most acclaimed works and in this production it’s presented in a fresh and innovative setting that is truly captivating.
Under the baton of the great Asher Fisch the music of Verdi is brought to life in this tale of revenge, misunderstands and tragedy.
If you’re not familiar with the tale of the Count di Luna, the objection of his desires Leonora, her lover the troubadour Manrico, and gypsy woman Azucena, here’s how it goes.
Years before the action begins the region’s count had two sons, when one, who is still a baby, fell sick a gypsy woman was wrongly accused of bewitching the young child. As punishment she is burned alive as a witch. As reprisal her daughter Azucena kidnaps the infant and later the bones of a baby are found by the fire.
Now decades later the surviving son is now the count and he’s sworn to avenge his siblings death and find Azucena. At the same time he has his eye on the beautiful local girl Leonora, but she’s more interested in the peasant troubadour Manrico who sings outside her window. What is unknown though is that Manrico has been raised by Azucena, but he is really the count’s long lost younger sibling.
In this production WA Opera favourites James Clayton and Paul O’Neil take on the roles of Count di Luna and Manrico. While Naomi Johns plays Leonora with great aplomb, and Nicole Piccolomini shines as Azucena.
Equally important is a large chorus who play the soldiers and villagers who fill this world, and in a surprising move for a night at the opera there’s a lot handsome soldiers and villagers who are stripping off on stage.
While all of their performances are first rate, the real spectacle of this show is the bold staging which was originally created by Elke Neidhardt in 1999, and recreated for this revival by Matthew Barclay. With stunning sets from Michael Scott-Mitchell, costumes by Judith Hoddinott, and lighting created by Nick Schliper.
A giant series of walls that serve as castles, barracks, convents, and prisons fills the stage, throughout the performance is moves and shifts to create a wide variety of settings, the stage is dark and gloomy revealing our protagonists are living in perilous times.
The action has been set in more recent times, war torn times with soldiers in green uniforms, a women in pastels dresses, bold red outfits, trench coats and hats. Against this dark and foreboding setting the final scene takes place is a bright prison cell as our characters secrets and misunderstandings collide in a disastrous conclusion.
Musically the highlight of the show is the instantly recognisable Anvil Chorus, even if you’ve never been to an opera in your life you’ve heard this bit in hundreds of television commercials and films. But overall the music of Verdi is robust, emotive and take sus through many different emotional states as the story unfolds.
Like many operas Il Trovatore is a rich spectacular filled with talented performers, world leading stage craft and an overwhelming sense of something very grand.
WA Opera’s production is playing at His Majesty’s Theatre until Saturday 25th October. Tickets are on sale now.
