[Met Performance] CID:209350
Il Trovatore {364} Metropolitan Opera House: 02/4/1967.

(Review)


Metropolitan Opera House
February 4, 1967


IL TROVATORE {364}
Giuseppe Verdi--Salvatore Cammarano

Manrico.................Richard Tucker
Leonora.................Martina Arroyo
Count Di Luna...........Robert Merrill
Azucena.................Biserka Cvejic
Ferrando................Raymond Michalski
Ines....................Shirley Love
Ruiz....................Dan Marek
Messenger...............Hal Roberts
Gypsy...................Luis Forero

Conductor...............Francesco Molinari-Pradelli

Review of Irving Kolodin in the February 26, 1967 issue of the Saturday Review

Caballé in "Trovatore"


Among "others" who indulged themselves in what legions of Metropolitan audiences at "Trovatore" have heard in the past, and will hear in the future, were Richard Tucker (Manrico) and Robert Merrill (di Luna). Conceivably, if this were a "Trovatore" molded from the outset by the excellent Francesco Molinari-Pradelli, it would have been formed throughout with the same concern for continence and musical sobriety that characterized the Caballé performance. Since it was not, one could only commend him for shaping the orchestral sound to her kind of artistry when she sang alone, and accepting the realities of the marketplace when Tucker and Merrill were "selling."

The Azucena of Biserka Cjevic could probably have gone either way in suitable circumstances, but in these particular ones, she began by bearing heavily on the conventional kind of chest sound and throbby middle in "Stride la vampa!" and the following "Condotta." However, it appears that this artist is gradually losing her inhibitions about appearing in these surroundings, and as the evening progressed she gave as good as she took from Tucker and Merrill. Some of her high register phrases were vibrant as well as powerful, which naturally attracted the response of those to whom such values are paramount. However, she certainly has all the resources to make a fine Azucena in a start-from-scratch production. Should the present well worn sets and costumes be replaced in the next decade or so, Raymond Michalski's Ferrando could still be an asset. He gave conviction as well as good sound to a part which, too often, has neither.



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