* Notes *
Opera San José is in the midst of an appealing run of Il trovatore. The traditional production cleanly moves through the scenes and has a hint of humor plus lots of robust singing and playing.
Though the synchrony of the brass-heavy orchestra and the singers was not always focused, the performance yesterday had much charm. The plot of Il trovatore is famously absurd, and there were definitely moments in which director Brad Dalton leaned into this, as seen when the Count di Luna and Manrico fight over Leonora (pictured, photograph by David Allen). Leonora grabs a sword herself and the effect is pretty amusing. The set is simple, stone stairs represent everything from a garden to a dungeon, but it works with the help of super-titles.
There is much powerful singing. Baritone Eugene Brancoveanu gave a nuanced performance as the Count di Luna, his rich warmth can sound both angry and plaintive. Likewise mezzo-soprano Daryl Freedman impressed as Azucena. Her mad recounting of what happened to her mother and her baby son were chilling, while she had a tender sweetness in her duet with Manrico "Ai nostri monti ritorneremo" in the last act.
Tenor Mackenzie Gotcher cuts a fine figure as Manrico, and his singing is strong, especially in volume. Soprano Kerriann Otaño also has a big voice, with a wide vibrato and drama to spare. Her Leonora is very spirited and her low notes are especially beautiful.
* Tattling *
The audience was very much engaged with the performance, though someone's phone did ring during a quiet moment when the Count di Luna sang near the end of the first half. I had to giggle when the ladies behind us speculated on what would happen next, prognosticating that "someone must die."