From all appearances, the first-night performance went ahead without a hitch . Even climate-changed nature appeared to be, momentarily at any rate, an opera fan. No heat wave. No smoke-filled air from fires blackening singers’ lungs.
It also selected an opera that, for all its popularity, has long been problematic for its racial stereotyping. It is the opera that has the anvil chorus, that treats the zingari as the awfulThere is a lot to get around, and L.A. Opera chose a production from Monte Carlo by the Spanish director Francisco Negrín to solve those problems. He does so in part by making everything so dark and spooky you can’t easily tell what is what or why.
This time, we witness “Trovatore” from Azucena’s point of view. Her charred child appears and reappears, as does charred momma. Centuries of terror and abuse toward the Romani appear to have created a community of grief, of which Azucena becomes for Negrín a symbol. The past cannot be escaped.Too little of this, however, comes across on the stage. Poorly directed, singers semaphore conventional, unconvincing theatrical gestures that turn them right back into stock opera characters.
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