One unanticipated result of the director’s approach was that Patrice Houston’s Azucena lacked the haunted quality that defines other famous interpreters of that role. Her interaction with Manrico (Benjamin Bongers) became one dimensional, even in the famous prison scene in the last act. She was always controlling. We first saw her drinking a beer, angry over what she perceived as Manrico’s defection. Later, she sang her famous "Stride la vampa" at him like an accusation. Carolo began the prison scene with Azucena looking at the sleeping form of her son, as she considers what to say, perhaps a bit contemptuously. This was Carolo’s boldest stroke — a complete reversal of the implications of the text — but one that accords with Verdi’s plea to his librettist, Salvatore Cammarano: "Do not turn Azucena into a madwoman."

Vocally, Patrice Houston certainly had the power and the stage presence to carry her pivotal role. With a resonant, full-bodied tone combined with pitch clarity and dynamic control, she is a singer ready to take the next step up the career ladder. Her best moment: the climax of her narrative in the camp scene — "Il figlio mio avea bruciato" (I had burned my own son). It was terrifying.

Duana Demus as Leonora had the opposite trajectory. She seemed to have a case of nerves at the outset. Her opening aria was a little out of control and occasionally sharp in pitch. She rushed the scale passage that finishes the aria. When she reentered, however, she began to calm down and her performance grew in stature. By the final act, she was totally in command, singing with assurance and focus. Luckily, that’s where Leonora’s part is most important. There, Demus was superb. And she was a completely believable actor, always in the moment, and extraordinarily supportive of the other cast members.

Acting as another Evil Incarnate villain, Roberto Gomez was once again in his element. I don’t recall seeing anyone enjoy these roles as thoroughly. He has boundless energy, and a gutsy, penetrating tone that perfectly matches Count di Luna’s personality. His is the assurance of a seasoned performer who can take command with an entrance. I wish he had softened the phrasing and tone of his aria, "Il balen del suo sorriso." It needed a little more lyrical breadth and a softer dynamic in spots. But cavils aside, it was another excellent portrayal in Gomez’ gallery of rogues.

Conductor Barnaby Palmer has made a quantum leap in the last year, not so much in his technical musicianship, which was always there, but in his interpretive capability. His leadership has become more fluid, nuanced, and idiomatic. The give-and-take with his singers seemed natural, and they molded the phrases in concert with each other. The orchestra responded extremely well, and benefited from Verdi’s habit of doubling everything. The winds were on display and came through magnificently, particularly Stacey Pelinka (flute), and Ann Lavin (clarinet), who matched each others’ tone and phrasing beautifully. The chorus, stiffened by the presence of chorus master E.E. Grant IV onstage with them, sang in tune and hit their entrances.