One of the key elements of attending an opera as an enthusiast is the anticipation of a director’s vision when taking your seat in the hall. This curiosity, this eagerness to see how a masterpiece will be reinterpreted and brought to light, is integral to the operatic experience, especially during the premiere of a new production. In this regard, the premiere of Giuseppe Verdi’s “Il Trovatore” at Stuttgart Staatsoper garnered much curiosity but unfortunately also a fair share of frustration.

The bold directorial choices did not leave the audience indifferent, as evidenced by the mixed reaction during the applause—where boos sometimes drowned out the bravos. While we remain open to artistic interpretations, we couldn’t help but feel a certain tension at times, particularly during Act II when the curtain fell too frequently, interrupting the music with sound and vocal effects through loudspeakers. This disrupted the frenetic and continuous flow of the beautiful score. In a masterpiece with such a complex libretto, where the dynamic and syncopated music is the thread that allows for total immersion, it was challenging to be swept away as much as we would have liked. The lack of fluidity undermined key climactic moments, whose progressive dramatic build-up was constantly interrupted.

However, it would be unfair to reduce the Stuttgart Staatsoper experience to this annoyance alone. The quality of the cast and the musical intensity of each scene deservedly earned the performers a hearty ovation from the audience.

Selene Zanetti, as the devoted and heroic Leonora, alternated brilliantly between moments of pure tenderness and bursts of consuming passion, delivering a vocally and emotionally complete performance. Her crystalline timbre shone particularly during her solos, which were duly applauded by the audience.

Atalla Ayan impressed as Manrico, with a vocal performance that met the high expectations for a Verdi tenor. His portrayal of the courageous and tormented hero was compelling throughout the opera, and his impeccable technique was especially appreciated during his various solos—particularly in a powerful, untransposed “Di quella pira.”

We discovered Kristina Stanek in one of Verdi’s most complex roles: Azucena. Her warm voice conveyed the gypsy’s pain and madness, with the character’s profound sorrow and thirst for revenge gradually unfolding through the mezzo-soprano’s performance.

Another standout was Ernesto Petti as the Count di Luna, whose powerful timbre captured both the authority and vulnerability of the character. We look forward to following the evolution of his promising voice.

A special mention goes to conductor Antonello Manacorda, who brought out rarely audible details of this rich score, infusing it with the energy and dynamism needed for such a masterful work. His theatrical and precise direction faithfully highlighted the richness of the score, ensuring a seamless and authoritative connection between the pit and the stage.

In summary, despite the frequent interruptions in the music we cherish during one act, we left delighted by the musical quality, satisfied with two remarkable discoveries, and glad to have stepped out of our comfort zone. We hope that the trend of such frequent interruptions does not become a new norm in opera productions.