If you are a novice to the opera and are thinking of dipping your toes in, Giuseppe Verdi’s Il Trovatore makes for a pretty good introduction.
It has everything – full drama, vengeance, infanticide, wrongful murder, child kidnapping, a love triangle, secret brothers, racism, misogyny, war, sibling rivalry, rape and betrayal. Set to brilliant vocal dynamics, and an iconic score, it all comes together to make for a compelling production.
Principal conductor of the West Australian Symphony Orchestra, Asher Fisch, so succinctly puts this into words: “When watching a staged version of Il Trovatore, it is vital to understand that for Verdi what was paramount was that the plot and drama supplied him with enough inspiration to compose great music.”
Combine this with 4 of our best operatic greats, a strong cast, and stunning sets with clever staging, and you are in for 2 hours and 40 minutes of brilliance.
The story begins when a gypsy woman is wrongly burnt at the stake for supposedly bewitching a child. Her daughter, Azucena (Nicole Piccolomin) swears revenge and wants to throw the child’s brother into the pyre that killed her mother. Unfortunately, she accidentally throws her own child in instead. Overcome with grief, she kidnaps the child’s brother and raises him as her own.
This is the origin story of Manrico the troubadour (Paul O’Neill). Years later, both Manrico and (unbeknownst to him) his brother, Count Di Luna (James Clayton), fall in love with the same woman, Leonora (Naomi Johns), and drama ensues.
Originally directed by Elke Neidhardt in 2002 and revived by Matthew Barclay, West Australian Opera’s production is set during the Spanish Civil War in the 1930s, a departure from the original 15th century Spain. Set designer Michael Scott-Mitchell’s clever staging made every scene transformative, not only with the addition of spectacular extras such as fire drums and army vehicles, but also with the effective use of multi-tiered stage architecture. And of course, the costuming by Judith Hoddinott perfectly encapsulated the era.
However, the real stars of the show are undoubtedly the 4 amazing artists who not only wowed us with their unmatched vocal prowess, but with the intensity of emotion and dramatic portrayal required of them in every scene. Special mention also goes out to the amazing supporting cast of artists and the talented West Australian Opera Chorus. The iconic anvil chorus has been my earworm for days after the fact.
Of course, the huge elephant in the room is the overarching theme of the persecution of the Romani people – the racist overtones, not to mention the rape portrayal (trigger warning) which is the reality of war, not dissimilar to the humanitarian crises ongoing in parts of the world today. However when one is putting on a classic grand opera by Verdi, I do acknowledge this is impossible to amend.
Problematic? Without a doubt. Would I still recommend? Also yes. Do try to get in to watch this operatic masterpiece before the short season ends.
West Australian Opera’s Il Trovatore runs at His Majesty’s Theatre until 25th October.