Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

OPERA TODAY ARCHIVES »

Performances

Plácido Domingo as Simon Boccanegra [Photo by Catherine Ashmore courtesy of The Royal Opera]
02 Jul 2010

Picture Perfect — Plácido Domingo as Simon Boccanegra, Royal Opera

Plácido Domingo isn’t a tenor, a baritone or even a singer. He’s a phenomenon. Dozens stood by the stage door at the Royal Opera House to greet him with bouquets.

Guiseppi Verdi: Simon Boccanegra

Paolo Albiani: Jonathan Summers; Piero: Lukas Jakobski; Simon Boccanegra: Plácido Domingo; Jacope Fiesco: Ferruccio Furlanetto; Amelia Grimaldi: Marina Poplavskaya; Gabriele Adorno: Joseph Calleja; Amelia’s maid: Louise Armit; Captain: Lee Hickenbottom. Orchestra of the Royal Opera House. Conductor: Antonio Pappano. Diuector: Elijah Moshinsky. Set Designer: Michael Yeargan. Costumes: Peter J Hall. Lighting: John Harrison. Royal Opera House, London, 29 June 2010.

Above: Plácido Domingo as Simon Boccanegra

All photos by Catherine Ashmore courtesy of The Royal Opera

 

The fans know he doesn’t need flowers. The flowers are symbols to thank Domingo for being who he is. He’s an institution, or as they say in Japan, a Living National Treasure.

Given Domingo’s hectic schedule and age, it’s a miracle that he sings at all. Yet the moment he appears, the atmosphere seems to ignite, though he shares the stage with luminaries like Ferruccio Furlanetto, Joseph Calleja and Marina Poplavskaya.

Domingo’s authority is all the more impressive because there aren’t any florid, crowd pleasing arias in the part. It’s not Boccanegra’s style. He’s a shrewd politician who lives on constant alert, surrounded by danger. Hence the austere vocal colour, cold steel and granite. Boccanegra reveals himself in declamation, not decoration, and in ensemble where he’s not exposed. Indeed the tension in Domingo’s voice at some points enhances his characterization of Boccanegra as a man ravaged by fruitless struggle.

Domingo was convincingly tender in the reconciliation scene with Amelia, but reached true heights later. His monologue “Ah! ch’io respiri l’aura beata del libero cielo!”was exceptional. Acting skills grow with experience, so even if a voice ages, a true artist like Domingo can bring out aspects in the character deeper than words alone. “Oh refrigerio!... la marina brezza!...”, he sings, as the strings oscillate eerily. Domingo at once portrays the old Doge, whose power brought no peace, and the heroic corsair he once was.

Antonio Pappano understands that this “breeze” is sinister, and that Boccanegra will soon be chilled by death. Pappano’s feel for the hidden depths in this opera manifested itself in the way he brought out the strange, wavering textures in the orchestration. Tragedy hangs on this opera like a shroud : there’s an implication that headstrong Adorno might one day end up as broken as Boccanegra. Yet Verdi writes with cool-headed stoicism. Sparse textures, solo melodies, intense restraint. In Act 3, the juxtaposition of wedding chorus and execution march is so destabilizing Verdi doesn’t need to overstate the horror.

The central relationship in Simon Boccanegra is between Boccanegra and Jacopo Fiesco. Patrician and plebian, old authority pitted against a new order. Ferruccio Furlanetto’s Fiesco is a strong counterbalance to Domingo’s Boccanegra. Furlanetto has stage presence enough not to be intimidated by Domingo’s aura. His vocal control, too, was so vigorous that he could only be faulted for sounding like a much younger man, not Amelia’s grandfather. But the plot is a means of expressing the titanic power struggle in 14th century Genoa. Much better that Furlanetto sounds forceful and potent.

When Domingo and Furlanetto sang the reconciliation, it was profound because what has gone before has been so intense, a battle between two formidable forces.

Amelia is the pivot on which the plot turns, though the love story is secondary to the hate story that pervades the background. Marina Poplavskaya sings Amelia so assertively that her Amelia is much more than a plot device. Poplavskaya captures Amelia’s charm but the firmness in the centre of her voice indicates strong personality. A girl with such genes would hardly be a cipher.

Calleja_et_al_Boccanegra_RO.gifFrom Left To Right: Joseph Calleja as Gabriele Adorno, Marina Poplavskaya as Amelia Grimaldi, Plácido Domingo as Simon Boccanegra and Jonathan Summers as Paolo Albiani

Joseph Calleja’s Gabriele Adorno is energetic so much the young hothead that it’s hard to imagine what he’d be when he becomes Doge. Calleja has personality in his voice, which makes it attractive.

Lukas Jakobski’s Pietro was impressive, too, since he’s still a Jette Parker Young Artist. He stands out, vocally as well as physically (he’s very tall). Jonathan Summers’s Paolo Albiani was good too.

Since this production has been revived over 100 times, it’s almost superfluous to comment, but theatre is as much part of an opera as singing. Otherwise we’d stick to concert performances.

The sets in this Simon Boccanegra, designed by Michael Yeargan are extremely beautiful, and musically intelligent, too. Chessboard marble floor — a hard foundation that adapts to changes in time and scene, like Genoa itself. It’s black and white, typically Italianate, but also evokes the black and white power struggle in the narrative. On the uprights appear words, sometimes in gold, and in Latin, like frescoes, sometimes roughly scrawled graffiti in Italian. Plebians and Patricians again. Literally, “The writing is on the wall”.

This is a very painterly production, inspired by Renaissance painting and architecture. Yet beauty alone isn’t enough on its own, as Verdi himself was to say of this opera. Fundamentally this isn’t a decorative opera, but an opera about extreme emotions, however repressed. The physical action in this production seems oddly lethargic and stilted. as if the parts are stepping out from a painting. It works, if you think of the production as a scene in a frame on a wall in a marble hall. Fortunately, the cast is so experienced that they can create their roles almost by instinct.

Domingo is a very important artist, and Simon Boccanegra is hugely significant for him. This Royal Opera House production of Simon Boccanegra will be broadcast internationally, online by BBC 2 television on Saturday 10th July at 7.30 pm London time. There will also be a BP Big Screen Live Relay on Tuesday 13th July at 7.30 pm London time at Trafalgar Square, Canary Wharf, Bradford, Bristol, Ipswich, Leicester, Manchester, Plymouth and Portsmouth. There will also be a concert performance at the BBC Proms, broadcast live, internationally, online and on demand. from 18th July.

Anne Ozorio

For more information, please see: www.roh.org.uk

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):