(For October 12, 2012 performance)
For years, Il Trovatore was absent from the Met repertoire
due to poor productions. But over the last few years, the opera has been one of
the Met’s most popular repertory staples. The David McVicar production was
inaugurated on February 16, 2009 to rave reviews. Critics clamored over how the
production maintained the steady pace of this fast moving melodrama. But the
greatest praise that McVicar received was for finally giving the Met an
appropriate Trovatore Production.
Three years later, the appeal is still there, but it has
certainly faded. Gone is the energy that had carried it through its first
season. Back then, the sets were vibrant with mood and tone. Now their
minimalism looks dull and bland. The one scene that still packs a punch is the
gypsy encampment at the start of Act 2. The activity of the famous Anvil Chorus
and the bright colors add stark contrast to the muted and gray colors of the
other scenes. Obviously Trovatore is a dark drama and an appropriate palette is
necessary, but many of the sets feel tacked on and unfinished. Act one’s castle
is passable if only because the soldiers and narration of Ferrando help the
cause. But the second scene which sets up the main conflict between Di Luna and
Manrico for Leonora’s love is bare and lacking in any dynamism. The rotating
set does help speed up the proceedings, but does not necessarily enlighten or
refresh them.
It is completely unfair to blame McVicar’s sets for the
routine vibe that the set gave off last Friday. Trovatore is undoubtedly a hard
sing for all those involved, but stage director Paula Williams was either
rushed to direct anything or ultimately had no ideas and was disinterested in
the material. When there was some staged action it lacked authenticity and felt
tacked on. It would immediately be easy to blame the actors, but I don’t
honestly believe it was their fault. The direction seemed disinterested and
lacked the energy of the drama unfolding onstage
.
