Toye, Francis (1931), Giuseppe Verdi: His Life and Works, New York: Knopf
•
Things were put on hold for several months as Verdi became preoccupied with family matters, which included the illnesses of both his mother (who died in July) and father, the estrangement from his parents with communications conducted only between lawyers, and the administration of his newly acquired property at Sant'Agata (now the Villa Verdi near his hometown of Busseto) where he had established his parents.
•
Including work on Trovatore, other projects consumed him, but a significant event occurred in February when the couple attended a performance of Alexander Dumas filss The Lady of the Camellias as result of which Verdi's biographer, Mary Jane Phillips-Matz, reports that the composer revealed that, after seeing the play, he immediately began to compose music for what would later become La traviata.
Jaklin Çarkçı's career began with a 1988 debut as Azuncena in Giuseppe Verdi's Il trovatore at the Istanbul State Opera.
The musical and theatrical influences of the opera can be felt in, amongst others, Liszt's monumental Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" for organ which is based on the Anabaptists' chorale, the duet between mother and lost child in Giuseppe Verdi's Il trovatore, and the catastrophic finale of Richard Wagner's Götterdämmerung.
# Verdi: 'Vedi! Le fosche notturne spotigle' from Il trovatore - 02:46
In recent years Hvorostovsky's stage repertoire has almost entirely consisted of Verdi operas such as Un ballo in maschera, La traviata and Simon Boccanegra; he has appeared in Rigoletto and Il trovatore in a David McVicar production at the Metropolitan Opera with Sondra Radvanovsky.
In the last few years, Francesco Anile's repertory has gradually grown enriched by major roles, such as: Cavaradossi (Tosca), Pinkerton (Madama Butterfly), Luigi (Tabarro), Ishmael (Nabucco), Manrico (Il trovatore), Duke of Mantua (Rigoletto), and Radamès (Aida).
He continued to study further in Vienna from 1855-1858 before making his professional opera debut in 1859 under the name Franz Ferenczy as Manrico in Verdi's Il trovatore at the opera house in Graz.
The theater ran up to 15 opera productions a year, including local premieres of Beethoven's Fidelio and Verdi's Ernani, Macbeth, Il Trovatore and Othello.
Tucci made only two commercial recordings, Pagliacci in 1959, opposite Mario del Monaco, and Il trovatore in 1964, opposite Franco Corelli, but can be heard in a number of "live" performances, including Cherubini's Medea and Donizetti's Il Furioso al Isola di Santo Domingo.
His roles have included most of the major bass roles of the Verdi and Wagner repertories, such as: Miller, Sparafucile, Ferrando, Padre Guardiano, Phillip II, Landgrave, Hans Sachs, Gurnemanz, etc.
Additional credits include Associate Choreographer for the new musical Beautiful and Damned (Yvonne Arnaud Theater, Guildford); Assistant Director/Choreographer for Copacabana (2003) Denmark and Holland Chess (2002) in Denmark; Associate choreographer for My One and Only in Chichester and London, Calamity Jane the UK Tour and Shaftsbury Theater, London, Il Trovatore in Rotterdam and JFK The Musical in Dublin.
A highly versatile singer, he also appeared in the title roles of La Monnaie's productions of Hamlet, Rigoletto, Hérodiade, and Le roi Arthus, as well as singing Count di Luna in Il trovatore, Iago in Otello, and Baron Scarpia in Tosca.
During her career Bogacheva has performed at the Mariinsky Theatre and elsewhere in the Soviet Union the key mezzo roles in the Russian repertoire: the countess in The Queen of Spades, Marfa in Khovanshchina, Lyubasha in The Tsar's Bride, Marina in Boris Godunov as well as the title role in Carmen, Verdi's Eboli (Don Carlo), Amneris (Aida), Azucena (Il trovatore) and many others.
Vinco sang all the great bass roles of the Italian repertory notably; Oroveso, Raimondo, Sparafucile, Ferrando, Fiesco, Padre Guardiano, Gran Inquisitore, Alvise, etc., and can be heard in several recordings.
During his work at the Theatre Mr. Sargsyan has performed such operas as "Otello", "Il Trovatore" "La Traviata" by G. Verdi, "Polievkt" by G. Donizetti, "Paliaggi" by Leonkavallo, “Anush” by A.Tigranyan, “Arshak the 2nd” by T.Chukhadjian etc.
Kabaretti’s operatic experience includes productions at the Maggio Musicale Fiorentino ( Die Entführung aus dem Serail, Macbeth, Il Trovatore, Gianni Schicchi, The Journey to Rheims ), Teatro Real in Madrid ( Cenerentola, Die Walküre ), The Israeli Opera
During its period of great opulence following the Revolution, it was the site of many major opera presentations, including Verdi’s Rigoletto and Il Trovatore in 1860 and performances in 1866 of Lucia di Lammermoor and Il Barbiere di Siviglia by the famous soprano, Adelina Patti.
For Verdi he wrote Alzira (1845), La battaglia di Legnano (1849) and Luisa Miller (1849), and finished his libretto for Il trovatore (1853) when he died in July 1852,but it was expanded by Leone Emanuele Bardare.
He was also admired in a number of Italian operatic works, including Il trovatore, Aida, Cavalleria rusticana and Pagliacci.
She has sung more than sixty roles, including the title role in Carmen in three productions, Octavian in Der Rosenkavalier, Azucena in Il trovatore, Amneris in Aida and Ulrica in Un ballo in maschera.
Some of the Verdi roles which he has sung in Frankfurt are Amonasro in Aida, the Count di Luna in Il trovatore, The Duke of Nottinghamin Donizetti's Roberto Devereux, Ezio in Attila, Germont, Guy de Montfort in Les vêpres siciliennes, and Renato in Un ballo in maschera.
Included are excerpts from La forza del destino, Norma, Il trovatore, Il barbiere di Siviglia, and a staged Act II of Tosca (also with Albert Lance and Tito Gobbi).
Budden, Julian, The Operas of Verdi, Volume 2: From Il Trovatore to La Forza del destino.
He began his career with the New Orleans Opera Association in secondary parts, including appearances in Salome (1949), Le nozze di Figaro (1956), Il trovatore (opposite Herva Nelli, 1958) and The Beggar's Opera (directed by Lillian Gish, 1958).
In 1951 she sang Leonora in ‘’Il trovatore’’ for Welsh National Opera, and in autumn 1952 Vayne sang her first Tosca, to the Scarpia of Tito Gobbi in the Italian Opera Company's production.
Budden, Julian, The Operas of Verdi, 2, From Il Trovatore to La Forza del destino .
Her discography includes recordings of Il trovatore (as Azucena, opposite Katia Ricciarelli, José Carreras and Yury Mazurok, conducted by Sir Colin Davis, 1980) and Prokofiev's War and Peace (with Galina Vishnevskaya, conducted by Mstislav Rostropovich, 1986).
Among Mazurok's recordings are Eugene Onegin (with Galina Vishnevskaya and Vladimir Atlantov, conducted by Mstislav Rostropovich, 1970; then with Tamara Milashkina and Atlantov, led by Mark Ermler, 1979), and Il trovatore (opposite Katia Ricciarelli, José Carreras, and Stefania Toczyska, conducted by Sir Colin Davis, 1980).