{"id":14473,"date":"2013-11-13T09:20:47","date_gmt":"2013-11-13T13:20:47","guid":{"rendered":"http:\/\/www.musicalamerica.com\/mablogs\/?p=14473"},"modified":"2018-02-12T09:10:03","modified_gmt":"2018-02-12T13:10:03","slug":"return-of-the-troubadour","status":"publish","type":"post","link":"http:\/\/www.musicalamerica.com\/mablogs\/?p=14473","title":{"rendered":"Return of the Troubadour"},"content":{"rendered":"

\"Jonas<\/p>\n

By ANDREW POWELL
\nPublished: November 13, 2013<\/span><\/p>\n

MUNICH \u2014 Olivier Py<\/a>\u2019s neon-lit vaudeville vision of Il trovatore<\/i><\/a> is back, with cast adjustments. At the performance on Nov. 9, Krassimira Stoyanova<\/a> introduced a cool-timbred Leonora of a certain age, her versatile and expressive top reflecting keen musicianship. Vitaliy Bilyy<\/a> lurched about in hammy fits as di Luna but sounded potent. If his Il balen<\/i> wanted more suavity, at least the baritone mustered heft in important places and, with Stoyanova, brought excitement to Mira, di acerbe lagrime \u2026 Vivr\u00e0! contende il giubilo<\/i>. Goran Juri\u0107<\/a>, the so-so Ferrando, managed to swallow more words than he projected.<\/p>\n

Looking less engaged than at the June 27 premiere, conductor Paolo Carignani<\/a> bounced along the top layer of the music. His Miserere<\/i> again lacked tension. Elena Manistina<\/a> and Jonas Kaufmann<\/a> replicated their contributions of five months ago, complete with a now slicker intermission box-sawing.<\/p>\n

Photo \u00a9 Wilfried H\u00f6sl<\/p>\n

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\nEttinger Drives Aida<\/a>
\nRigoletto Lands in Stadium<\/a><\/p>\n