Word: manrico
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Dates: during 1950-1959
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...dance to Verdi's crackling Stride lavampa music, and Page and the dancers were in full command. In the Anvil Chorus, the dancers whirled with so much gusto that the crowd could hardly keep from stomping out the rhythm with them. Standout scene: Azucena's duet with Manrico, her foster-son and the instrument of her revenge against the aristocratic Di Luna family. The ballet, like the opera, ended in a flood of blood, with Azucena, Manrico and his sweetheart dying and the wicked Count di Luna going mad. The curtain came down with Azucena triumphant...
...tale of Manrico, the troubador, and his misfortunes, is a gloomy and distressing one--especially distressing to the person who tries to untangle a plot full of bloody revenge, gypsy law, witch-burning and baby-switching. Carmine Gallone, director of this first screen version of "II Trovatore," has tried hard to make the plot understandable and has succeeded, by using English narration and subtitles. Gallone has also kept the singing on a high level. In the final account, however, this filming of "II Trovatore" cannot boast of much more than a clear plot and good voices...
...part of the gypsy minstrel, Manrico, Gino Sinimberghi has a warm and clear tenor. Azucena, Manrico's mother, is sung with intensity and dramatic power by Gianna Pederzini. Supporting singers Enzo Mascherni and Vittorina Colonnello also have fine, well-controlled voices. The orchestra and chorus of the Rome Opera House completes the first-rate group of artists which makes "II Trovatore" at least a musical success...