Listening Il Trovatore conducted by Giulini (I'll start testing tomorrow in Cremona). I knew that in the studio with Domingo, a romantic ballad of infinite imagination and nobility, the true Trovatore enchanted night and, unlike other Troubadours latest announced "moon" and actually directed and played the Garibaldi. But now I feel Il Trovatore live 1964 Covent Garden, with a good cast (Predict, Jones, Simionato, Glossop, Rouleau). Join a bit 'lucky, you can download in mp3 at this link:
This Trovatore limelight many places common on Giulini. And 'one of the most stalwart and rock I've ever heard. Not a vulgar phrase, an effect not free (and there are, these and those, even in the great version of Karajan), but almost violent theatricality, outgoing, courageous, pugnacious. Some times are fast ("Please slow down or barbarians" is on the verge of madness, have been together for a miracle), but it is mainly the relations between the different coming off the snap to generate the momentum. For example Giulini prepares "Di quella pira" tightening and speeding up the introduction so hectic the last page before the cabaletta: the effect is dizzying, and "Di quella pira" earns a lot to be removed in a non-frantic but slightly considered in order to give weight and energy to the accompaniment. On the other hand, all this does is to achieve the requirements of Verdi (metronome crotchet = 100!), Which are not directors who present themselves as guardians of the Word original. According to them, in fact, what Verdi wrote no account, and you can remove the cabaletta to 144 the quarter note (with a slight bell'accompagnamento light): the effect close the page Begin The Beguine Cole Porter, who all we adore but do not imagine sung by Manrico.
short, Giulini you strong indications of Verdi and produces a consistent pace and dramatic narrative (as in the narrative of all the Verdi operas: from start to finish there is nothing that remembrance a dark past and looming). The "how" to do it then respects its prestige and its size, which once again we bow.
About fidelity to the particulars of Verdi, one of the directors I've found more faithful and Sinopoli (who knew?) That in his Trovatore Monaco (live Cd Orpheus) is one of discretion and of surprising humility. Of course, respect the dynamic markings (to take but one example) leads to reduce effettacci vulgar so much tradition, and to bring the emotion to this sfumatissima, atmospheric, written as the masters of the infinite painted glazes.
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