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| Il Trovatore |
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| Roles Count di Luna, a nobleman in the service of the Prince of Aragon baritone Manrico, a troubadour and officer in the army of the Prince of Urgel tenor Azucena, a gypsy, supposedly Manrico's mother mezzo-soprano or contralto Leonora, noble lady, in love with Manrico and courted by Di Luna soprano Ferrando, Luna's officer bass Ines, Leonora's confidante soprano Ruiz, Manrico's henchman tenor An old gypsy bass A messenger tenor Leonora's friends, nuns, the Count's lackeys, warriors, Gypsies |
| 1929
The well-worshipped tenor was back on stage four nights later, this time in Trovatore with Rethberg. This was one of those tremendously “with it” performances that come along now and again, and Mason was overjoyed at Lauri-Volp’s Maanrico, its gamut ranging from “a clarion call to the dulcet utterances of love.” Giuseppe Danise was a Di Luna “a little more human” than the average, and this was all to the good. Rethberg was in fine form and so was the Azucena, Kathryn Meisle. Even the chorus seemed to be moving better. / pg 42/ /1922-1978 SFO-Bloofield |
| 1943
Baum’s vocal power was an asset in a Trovatore, which also boasted Thorborg as Azuccena and Zinka Milanov as Leonora. Thorborg Frankenstein wrote, “swept through Azucena like a whirlwind attached to a rocket.” Showing off a luscious voice and commanding histrionics. This was Milanov’s only season with the company and there were times in the years immediately following when her luxuriant tones would have bolstered the Italian dramatic soprano wing, mainly populated as it was by the intermittently handsome-voiced but phrase-chopping Stella Roma./ pg 87 /1922-1978 SFO-Bloofield |
| 1956
Eileen Farrell was introduced as Leonora in a Sunday matinee, and barring some shrill tones while warming up, the heroically-scaled soprano sang in the Grand Manner. She acted hardly at all, but her stage experience was limited. Most of her impressive career had, of course, been in radio and concert. The Mexican Dominquesz was a relatively refined but vocally distinquished Azucena. Bjoerling and Colzani helped make the 1956 Trovatore an afternoon’s entertainment, which the buffs still talk about fondly./ pg152 /1922-1978 SFO-Bloofield |
| 1958
Leontyne Price sang hir first Trovatore Leonora September 26, and once warmed up she performed with a special elegance and radiance of tone. Bjoerling…seemed distracted and at times bumbled about the stage absent-mindedly. Furthermore, his voice sounded tired. / pg 163 /1922-1978 SFO-Bloofield |
| 1968
Verdi was unsatisfactorily represented by only two oom-pah operas, Ernani and Trovatore, the later of course, a vastly more mature creation than the former. pg 254 /1922-1978 SFO-Bloofield |