The drama. The pathos. Melbourne Opera’s production of Giuseppe Verdi’s Il Trovatore sizzles and crackles with feeling. With an empty stage, save for a simple wooden platform, it is left to the performers, with the aid of the odd prop, to do the heavy lifting and they do so with distinction. It is an emotion charged story of love and vengeance, and the leads grab that mindset with relish and run with it.
In fact, there are many scenes in which I was transfixed. I dared not avert my eyes for even a moment, lest I missed out on seeing one of the many high points of the offering or even a well-timed body movement. The opera was first performed in Rome in 1853. Melbourne Opera has moved the setting from 15th century Spain to a ruined theatre in Lorca’s period in the early 20th century.
The story follows a bloody and tragic feud between two unknowing brothers. The arrogant, resentful and unforgiving Count di Luca and the rebel troubadour Manrico vie for the love of noblewoman Leonora. At the heart of the tale is a Romani woman’s quest for revenge.
Tenor Rosario La Spina approaches the role of poet and musician Manrico with impressive conviction. Soprano Helen Dix invariably mesmerises with her vocal acuity as Leonora. Baritone Christopher Hillier is a picture of unbridled rage as Count di Luna. As gypsy Azucena, mezzo soprano Sarah Sweeting is angst riddled. And then there is the measured confidence of bass Steven Gallop as Ferrando, Count di Luna’s captain of the guard.
Together with the other leads and the Melbourne Opera Orchestra and chorus, they transport the audience through a series of flashpoints. Several stirring arias, duets and terzettos performed by the major players entice and excite. In fact, the score, including the famous “Anvil chorus”, is rich and redolent, and conductor Raymond Lawrence is at the top of his game.
I loved his comment in the excellent theatre program referring to the fact that his first experience of live opera was when he saw Il Trovatore as a 16-year-old. He said the impact on him has never left and he recalls thinking: THIS is opera. My sentiments exactly.
The open set design, with signs of destruction, by Jacob Battista allows for quick and seamless transition between scenes. Costume designer Maya Anderson is astute in contrasting the attire of combatants Manrico and Count di Luna, and the look of Leonora and Azucena. At the same time, she excels with her choice of “uniforms” for soldiers, guards, nuns and commoners.
Lighting designer Tom Vulcan capitalises on the tonal variations in setting the mood. Director Matthew Barclay has done an outstanding job capturing the essence of the often-spine-tingling material. Two and a half hours, including interval, Melbourne’s Opera’s Il Trovatore is tantalising and triumphant. It is on at the Athenaeum Theatre until 30th August, 2026.
Alex First
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.