On Friday night, the Met began its run of the second Verdi opera of the season Il Trovatore. The role of Manrico was sung by Yonghoon Lee, Anna Netrebko was Leonora, and Dolora Zajick sang Azucena. The spotlight, however, was on Dmitri Hvorostovsky, who sang Count di Luna and made his first return to the Met after announcing that he is in the midst of a battle with a brain tumor and is currently undergoing treatment. He is scheduled to sing two more performances of Trovatore, after initially canceling many of his performances for the rest of the 2015 year.
Upon Hvorostovky’s first entrance, the Met audience went absolutely nuts. Many were standing and clapping as loud as possible, so much so that Maestro Marco Armiliato had to stop the orchestra and wait for the applause to cease. He and the orchestra gladly joined in the applause despite the halt of the performance. Hvorostovsky put a hand to his heart and bowed his head as thanks for the support. The performance continued after about an entire minute of applause.
That was nothing, however. At the conclusion of the performance during the sequence of final bows, Hvorostovsky was given yet another standing ovation and overwhelming round of applause. This time, however, the orchestra not only applauded, but each member threw a white rose from the pit onto the stage for him to collect. This simple gesture was comforting not only for him, but for everyone in the opera house. It showed that the Met is not just a boasting center of entertainment made up of the essential employees for each department: It’s family. As Canio describes in “Vesti la giubba”, there is more behind an actor than just what is on the surface, the makeup and costume; they can experience pain and suffering just as regular people do. Unfortunately, Hvorostovsky is currently experiencing that very human pain. His illness has hit the Met at a personal level, because every orchestra and chorus member, stagehand, you name it, knows him as a man with and without makeup. On Friday night, Hvorostovsky was as ordinary as any individual in the audience, and more importantly, acknowledged as a beloved member of the Met family.
His performance as Count di Luna might have been a little rocky simply because of his immediate return, however, his vocal power and astounding breath control were still exhibited. Yonghoon Lee used volume as his main tool throughout the evening, enough so that I was concerned he was not going to make it. However, he managed to make it through the evening even while keeping a consistent forte volume. Ms. Zajick was fabulous as always in her honed role as Azucena. Her push for forward resonance makes for a very powerful sound up and down the register. Singing-wise, Anna Netrebko was the star of the evening. Her move towards the Verdi sphere and out of the bel canto belt has benefited her well. Her voice has grown into an authoritative instrument by using the rigid breath support needed to handle Verdi’s difficult ascents and descents on the scale. She also managed to do all this while acting in her adopted “stage-animal” method, as she climbed and hung from the metal grating of the prison during her Act IV aria “D’amor sull’ali rosée”. It was an unbelievable stunt, similar to the ones she pulled as Lady Macbeth last season.
On any opening night, there are always a few disconnections between pit and stage. Maestro Armiliato led the orchestra and chorus with his Italianate cantabile line, allowing them to play and sing freely and beautifully. At some points soloists made wrong entrances, some early some late, but none were trainwreck-worthy.
Performances this fall of Il Trovatore run through October 17 before its return in early February with a different cast. Buy tickets to see it today, and to welcome back Dmitri Hvorostovsky for the next two performances!