Southern Opera’s production of this, one of the most popular yet frequently maligned operas, is nothing less than a triumph.
The production team have turned its weaknesses into strengths by giving its own distinction to each of the string of Verdi’s memorable tunes that make up the bulk of the work. At the same time they give them the continuity that Verdi didn’t.
Elric Hooper has an interesting set to work with, and makes the most of it. In its simplicity, it not only serves the many required dramatic purposes but, being a steel framework, it produces a keen resonance to the voices.
Of the main characters, Elena Bocharova stood out as the key character of Azucena. Although I found her almost mannered low register irritating after a while, she made the most of a powerful dramatic voice and convincing characterization.
Patricia Wright certainly has the voice for the most musically demanding female role, but character-wise is strongly dependent on costume and make-up. Carlo Scibelli makes a wonderful Manrico. His bearing is just right, and he is the true Verdi tenor hero.
Di Luna has to work hard to be liked, as the plot is against him. His strong baritone is true-toned and even.
I was glad to hear a distinct improvement in the chorus from their Carmen performance last year. Verdi gives them a huge amount to do in Il Trovatore, much of it quite demanding. They sang and adapted very well. The soldiers’ chorus at the start of Act 3 was most striking with the gusto one would expect of eager soldiers.
Christchurch Symphony was at its usual standard, and Tom Woods kept the opera going at a good pace.
If audiences continue at the size of the opening one, Southern Opera will have every reason to be pleased with a deservedly successful season.