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

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.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

OPERA TODAY ARCHIVES »

Performances

Plácido Domingo as Simon Boccanegra [Photo by Robert Millard courtesy of Los Angeles Opera]
29 Feb 2012

Simon Boccanegra, LA

Sometime everything seems to go right. Just as the Los Angeles Opera Company did last fall, it opened its spring season with a baritonal eponymous opera; this time, Giuseppe Verdi’s Simon Boccanegra.

Giuseppe Verdi: Simon Boccanegra

Simon Boccanegra: Plácido Domingo; Amelia: Ana María Martínez; Jacopo Fiesco: Vitalij Kowaljow; Gabriele Adorno: Stefano Secco; Paolo Albiani: Paolo Gavanelli; Pietro: Roberto Pomakov. Conductor: James Conlon. Director: Elijah Moshinsky. Set Designer: Michael Yeargan. Costume Designer: Peter J. Hall. Lighting Designer: Duane Schuler.

Above: Plácido Domingo as Simon Boccanegra

Photos by Robert Millard courtesy of Los Angeles Opera

 

The production, like the fall’s Eugene Onegin, was not only a first for the company, but happily, starring the company’s director, Plácido Domingo, an even greater artistic success; proving that baritones can be thrilling too.

sbc4185.gifVitalij Kowaljow as Fiesco

Verdi wrote Simon Boccanegra in 1857. Its libretto is based on a play by Antonio Garcia Guttiérrez, which in turn was based on the life of the Genoese plebeian, who was elected first Doge of Genoa in 1339. Verdi’s opera was not well received. However, nearly twenty-five years later the composer revised its music and used a new libretto created by Arrigo Boito. Boito, a writer and genius of another cut, had already composed Mefistofeles, his only opera. Subsequently he wrote the librettos for Verdi’s last and greatest works, Otello and Falstaff.

Simon Boccanegra’s story involves complicated personal and political intrigues. Like Verdi’s other political operas, Macbeth, for example, it is a dark work whose plot is not driven by romantic love. Five of its six major roles are for male voices. Two duets between bass and baritone are extraordinarily powerful. Like Macbeth, even the revised Simon Boccanegra has never achieved the popularity of other Verdi operas. However, it’s a favorite of mine. Its darkness comes not merely from the essentially male cast, its nasty intrigues, or its minimal romance. Musical darkness pervades the entire work from its key signatures, to its melodic lines, to its orchestration. Heartbreak and sorrow permeate the soul of Simon Boccanegra. And Verdi knew that soul intimately. Like Boccanegra, Verdi had lost a wife and daughters almost on the eve of his ascent to power and fame.

Simon Boccanegra begins with a prologue in which the major characters are introduced. Boccanegra is a young corsair, who is inveigled to accept the newly created post of Doge of Genoa by his manipulative power hungry friend, Paolo. We meet Fiesco, the father of Maria, the young woman Boccanegra loves, who has borne his daughter out of wedlock. Fiesco will forgive Boccanegra for this sin, if the corsair can produce that child. But he cannot. He tells Fiesco that little girl has disappeared. Moments later (and we are still in the prologue) just as Boccanegra discovers that Maria is dead, a joyous crowd arrives to declare him the newly elected Doge.

sbc4180.gifAna María Martínez as Amelia

The first act begins 25 years later. Now Boccanegra and his daughter, Amelia discover each other. Unhappily, Amelia is in love with a tenor named Adorno. who along with Fiesco and Paolo, each for his own reasons, have united as sworn enemies of Boccanegra. The dramatic highlight of Simon Boccanegra is the magnificent Council Chamber scene with its thundering confrontation between Boccanegra and Paolo. Later, Paolo poisons the Doge. Nevertheless, the opera concludes with just punishment and reconciliation. Paolo is executed. Boccanegra tells Fiesco that Amelia is his granddaughter, and in an extraordinarily moving duet, the two old men, Boccanegra and Fiesco are reconciled. Amelia and Adorno marry. Adorno becomes the new Doge of Genoa. And the dying Boccanegra will find his Maria in heaven. If you can get to the pre-opera talk, Maestro Conlon does a marvelous job of unraveling this sleeve of tsouris, and with music, no less!

The darkness of its preceding scenes make our introduction to Amelia, with its brief moment of joy and high notes the only truly bright moment of the work. Interestingly in Amelia’s first aria of love and longing,”Come in quest’ora bruna” sung as she awaits Adorno, Verdi harks back to the rolling oom pah pah bass of his earlier operas. James Conlon warned his audience that they would cry at the recognition scene and sure enough, I did. But I don’t at every performance of this opera. As I said, sometimes everything seems to go right. And this scene certainly did that Sunday afternoon.

The very strong cast of male singers led by Domingo made this possible. The knock on the state of 71-year old singer’s Boccanegra: that his voice is not deep enough for the role, and raspy besides, may be true, but for the performance I saw, all that was irrelevant. With a dark wig and slimming costume, he strode and sang vigorously as the young Boccanegra. As the gray haired Doge, he was a commanding presence. Domingo has always been an excellent actor, and is unsurpassed in the subtleties his voice whether as tenor or baritone, can express in dramatic roles. The Ukrainian bass Vitalij Kowaljow, who sang Fiesco was a joy to hear if like me you thrill to clear, legato bass singing and long held last low notes. Baritone Paolo Gavanelli and bass Robert Pomakov were equally compelling. Stefano Secco, making his LA debut as Adorno, has a bright tenor voice and happily, his Italian could be understood. Anne María Martínez, a Grammy winner for an album she recorded with Domingo, has a rich lyric voice and produced a genuine trill. Kudos for the chorus, which has a large role in the opera. Maestro James Conlon, who confessed a particular affection for this opera, kept a limpid performance rolling at a brisk tempo.

sbc6167.gifPlácido Domingo (right) as Simon Boccanegra, with Stefano Secco (left) as Gabriele Adorno

Well, maybe there were two things that weren’t so right: the lighting and the sets created originally by lighting designer Duane Schuler and Michael Yeargan, respectively, for Covent Garden. They seem to have taken the “darkness” of the opera too literally. Both the prologue and final scene were entirely too dim and shadowed. During the prologue it was sometimes difficult to know who was singing. And I found the depth of the sets troubling. Both the prologue, which takes place in a public square and the Council chamber scene, which employ large choruses, were set on comparatively shallow sets, whereas the intimate scenes: the love scene, the recognition scene and Boccanegra’s death were performed with open depths behind them.

But these are quibbles. A great opera, whether joyous or sorrowful, is foremost about music that enters one’s heart and moves it. And Verdi’s Simon Boccanegra does just that.

Estelle Gilson

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):