By nature, the Vienna State Opera Orchestra isn’t long on self-restraint. With a big, thrilling score and a conductor who pushes it, there’s always the danger that things are always going to get seriously loud, and on a bad night, the singers can be destroyed. The première of the Staatsoper’s new Il trovatore was not a bad night.
Verdi’s music is brim full of driving, rousing, insistent rhythms, and Marco Armiliato, conducting by heart, strove to get the impact out of every accent. The orchestral sound was continuously thrilling and, yes, loud. But we had a group of singers with huge voices, none of whom were in any danger of being swamped.
Notwithstanding the star quality of the pairing of Roberto Alagna and Anna Netrebko, the performance that impressed me most on the night was Ludovic Tézier’s Conte di Luna. On top of impeccable technique and intonation, his voice is strong, melodious, with a richness that combines velvet and steel: in another world and another time, this is a man whom Leonora might have loved.
The expectations of Netrebko are exalted, these days, but she fulfilled every one. What makes Leonora such a difficult role is the range of voice types required: a romantic aria like “Tacea la notte placida” requires expansive legato, but is then followed immediately by a cabaletta which is a vehicle for rapid fire coloratura. The Miserere requires repeated forceful accenting at the very lowest end of her range. Netrebko negotiated every one of these with apparent ease: in the coloratura, she sparkled, while the legato bathed us in the beauty of her timbre. “D'amor sull'ali rosee”, sung as she hopes to waft comfort to the imprisoned Manrico, was the highlight of the evening, showing Netrebko’s voice at its most pure and stopping the show for protracted applause.
Roberto Alagna nearly missed the show with a cold and needed the assistance of a hip flask of (we presume) water to get through the top notes on “Di quella pira”. Other than those top notes being a fraction held back, you wouldn’t have known there was a problem. Alagna portrays Manrico as a musician first and a warrior second: there is an immensely appealing ease to his voice as he follows the smooth contours of Verdi’s melodies. A purist might complain at the amount of portamento, but that’s a cavil: Alagna amply demonstrated why his voice is so thrilling as a romantic hero.