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

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.

Robert Ashley’s Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).

Orpheus in the Underworld, Opera Danube

I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.

Lady Macbeth of Mtsensk in Lyon

This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.

Tosca, Royal Opera

Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Classical Opera: MOZART 250 — 1766: A Retrospective

With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.

Benjamin Appl — Schubert, Wigmore Hall London

Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.

Ferrier Awards Winners’ Recital

The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.

Tippett : A Child of Our Time, London

Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.

Taverner and Tavener, Fretwork, London

‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.

Fall of the House of Usher in San Francisco

It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.

The Merry Widow at Lyric Opera of Chicago

For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.

Kindred Spirits: Cecilia Bartoli and Rolando Villazón at the Concertgebouw

Mezzo-soprano Cecilia Bartoli has been a regular favourite at the Concertgebouw in Amsterdam since 1996. Her verastile concerts are always carefully constructed and delivered with irrepressible energy and artistic commitment.

Cav/Pag at Royal Opera

When Italian director Damiano Michieletto visited Covent Garden in June this year, he spiced Rossini’s Guillaume Tell with a graphic and, many felt, gratuitous rape scene that caused outrage and protest.

Verdi Giovanna d'Arco, Teatro alla Scala, Milan

Verdi Giovanna d'Arco at Teatro alla Scala, Milan, starting the new season. Primas at La Scala are a state occasion, attended by the President of Italy and other dignitaries.

OPERA TODAY ARCHIVES »

Performances

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

Simon Boccanegra at the Proms

Proms audiences have a tendency to be overly enthusiastic in showing their appreciation, with an arsenal of rituals and traditions at the ready to show their praise and adulation for their idols.

Giuseppe Verdi: Simon Boccanegra

Simon Boccanegra: Plácido Domingo; Amelia: Marina Poplavskaya; Gabriele Adorno: Joseph Calleja; Jacopo Fiesco: Ferruccio Furlanetto; Paolo Albiani: Jonathan Summers; Pietro: Lukas Jakobski. Conductor: Antonio Pappano. Royal Opera Chorus. Orchestra of the Royal Opera House. Director: Elijah Moshinsky. Costume Designer: Peter J. Hall. Royal Albert Hall, London. Sunday 18th July 2010.

Above: Plácido Domingo as Simon Boccanegra [Photo by Catherine Ashmore courtesy of The Royal Opera]

 

But, the ovation which greeted the conclusion of this semi-staged performance of Verdi’s dark, brooding Simon Boccanegra was wholly justified — for once the reality more than lived up to the hype.

Of course, the anticipation — with Proms managers predicting queues for Arena day tickets stretching into Hyde Park — was largely for Plácido Domingo, returning to the stage just a few months after treatment for cancer, in his new guise as a baritone.

Domingo may profess that his decision to abandon his place as one of the ‘Three Tenors’ was not merely one of expediency but driven by a life-long desire to sing one of Verdi’s greatest roles, the 14th-century Genoan patriarch, Simon Boccanegra. In fact, for some time Domingo has been uncomfortable at the upper end of his tenor range; indeed, he has of late asked conductors to transpose roles downwards. But, his voice has always been characterised by a dusky, baritonal colour, and here he seemed liberated, relishing the soaring lines of the role, while elsewhere adopting an appropriately weary tone. While dramatically this captured the complexities and contrasts of this imperfect man — a ruthless, swashbuckling pirate reluctantly recruited as leader of a warring community of aristocrats and plebeians — musically it turned the role upside down: for the low, conversational phrases sounded effortful while the tense melodic peaks projected with ease. For Domingo’s baritone is a fairly light voice, lacking a genuine heft, and some might prefer a more burnished tone, particularly in the lower register where Domingo used his chest to strengthen and reinforce the sound. However, one can overlook such matters when presented with such a convincing characterisation, for Domingo truly embodied the tragic grandeur and dignity of the careworn ruler.

A flop at its premiere in 1857 — and performed here in the revised 1881 version — Simon Boccanegra remains one of Verdi’s most convoluted plots. There are several tangled strands, characters have multiple names and identities, and it would be a fruitless endeavour to attempt to unravel the complications. However, while this performance may have been only semi-staged, there are other ways of conveying the emotional meaning of the music than busy stage action and clever directorial tricks. Domingo perfectly communicated the trauma and torment of the troubled Doge; and especially impressive was the relationship he forged with Amelia, sung by Russian soprano Maria Poplavskaya, in their tender reconciliation scenes. Poplavskaya’s opening aria was pitch-perfect and serene, and although at times her soprano lacked the necessary shimmer, she successfully conveyed both the vulnerability and feistiness of Amelia, as she stands up to her domineering father.

But this performance was not just about Domingo and the superb ensemble cast was inspired by the occasion, the company and by Verdi’s music. Singing the role of Adorno, tenor Joseph Calleja almost stole the show; Calleja has a secure Verdian technique, strong in tone and projection, subtle in dramatic nuance. His Act 2 aria was electrifyingly ardent and justly inspired the loudest applause of the night. There were rumours that Ferruccio Furlanetto might be indisposed but such fears proved unfounded, and he was a typically imposing and dignified Jacopo Fiesco, his gleaming, sonorous bass easily filling the cavernous auditorium. Bass-baritone Jonathan Summers, completing the cast as Paolo, lacked tonal brightness and stamina but was dramatically effective as the Iago-lile villain, oozing menace.

Truly at home in this repertoire, Antonio Pappano commanded the orchestra of the Royal Opera House with a blend of passionate abandon and absolute control, delighting in Verdi’s instrumental tapestry and drawing musical pictures of great feeling and finesse. The ensembles, especially the Act 2 trio and the Council Chamber scene, were particularly well-shaped. Pappano’s players rose to the occasion, producing committed and superlative playing with a genuinely Verdian tinta.

Plácido Domingo has had a long, varied and illustrious career, as tenor, conductor, artistic director (at the Los Angeles Opera and the Washington National Opera), always seeking out new musical experiences and personal challenges, and this clearly continues. In 1959, aged just 18-years-old, he auditioned for the National Opera in Mexico City as a baritone, and was told by the impressed jury that he was not really a baritone and should be tackling tenor roles — so began a celebrated and distinguished career. Now things have come full circle. But one can’t help feeling that the auditioning panel was in fact correct — Domingo was and is a tenor: the overall colour and bright ‘edge’ of his voice remain those of a tenor regardless of the register. However, whether this ‘project’ is a personal indulgence or a brave experiment, it is one which is fully justified by the musical outcome. Domingo told one recent interviewer, “After Boccanegra … I will probably say Amen.” Simon Boccanegra may spend the second half of the opera melodiously dying a drawn-out death by poisoning but, fortunately, Domingo does not yet sound ready to stop.

Claire Seymour

Click here for audio clips of this performance.

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):