Latest news with #Boccanegra
Times
25-04-2025
- Entertainment
- Times
Simon Boccanegra review — riveting Verdi to stir the soul
★★★★★Bradford's year as UK City of Culture will doubtless have many memorable events. But I doubt whether anything will stir the soul, shiver the spine and raise the roof like this concert staging of Verdi's Simon Boccanegra. The tragedy was that the splendid St George's Hall had so many empty seats. Immaculately conducted by Antony Hermus, Opera North's magnificent chorus and superbly assured orchestra deserved a full house. And you would have to travel a long way, and pay a lot more money, to hear Verdi's dark drama of violent vendettas and long-festering feuds delivered with more intensity and character than by the cast assembled here. Happily, the show travels onwards, including to London next month. It's worth catching just to be immersed in the opera's great council chamber scene. And literally immersed is what you are in this tumultuous production. The chorus lines the aisles of the auditorium or glowers down from the balconies to hurl out (or, even more chillingly, whisper) its exclamations of anger or shock. Meanwhile, on stage, Boccanegra pleads for the warring clans of plebs and toffs to make peace (some hope!) and his newly found daughter denounces the quivering villain who abducted her. Local government politics can rarely have been so riveting. That's the evening's best 15 minutes, but the rest is excellent too. There's the wonderfully touching moment when Roland Wood's nobly sung Boccanegra, played with the haunted stare of a Shakespearean hero torn between political allegiances and paternal love, is finally reconciled with his bitter rival, Vazgen Gazaryan's superbly menacing Fiesco. And there's smouldering passion from the two lovers, Sara Cortolezzis's Amelia and Andrés Presno's Adorno — Romeo and Juliet figures on different sides of the divide. Both need to sing more delicately and sweetly in places, but what a thrilling match they are when they let rip. And Cortolezzis, in particular, has a quicksilver volatility about her acting. The semi-staging by PJ Harris is more cramped than it need be, because Anna Reid's set of civic arches and pillars divides what little space there is in front of the orchestra into three different areas. But I liked their idea of turning the tribal conflicts of 14th-century Genoa into what seems like a modern-day election campaign, with everyone wearing either a red or blue rosette, and Petrarch's despairing line — 'I' vo gridando: Pace, pace, pace' (I cry for peace) — blazed across the front of the stage. Seven centuries after he wrote those words, they still resonate.165minTouring to May 24, Follow @timesculture to read the latest reviews
Observer
30-01-2025
- Entertainment
- Observer
Stellar performances at ROHM as audience explores complex themes of Verdi's ‘Simon Boccanegra
Photos by Khalid AlBusaidi Last weekend the Royal Opera House Muscat hosted an exclusive presentation by the Mariinsky Theatre, St. Petersburg of 'Simon Boccanegra', Verdi's classic three-hour opera based on a 14th century Corsair. It is an unusual and difficult drama with its own challenging history. The revised version of 1881, Verdi's last opera, was used in this Italian production from Teatro La Fenice, Venice. It features only one female singer, albeit a major soprano role as the love-interest. There are few recognisable arias and much political infighting. The sub-plot is not about one, but two father-daughter relationships. The music is, however, among Verdi's finest writing and was performed live by the Orchestra of Mariinsky Theatre under their superb conductor, Valery Gergiev. A short string introduction opens the Prologue in a dark square in Genoa where men in black period costume are discussing the city's leadership. The sinister, conniving character of Paolo was sung by baritone, Roman Burdenko throughout with sardonic gravity. Most compelling in this production was renowned Italian bass, Ferruccio Furlanetto as the complex character of Maria's father and Boccanegra's rival, Fiesco. His voice was hauntingly dramatic and distraught, lamenting the grief of a father for his dead daughter in, 'A te l'estremo addio, palagio altero.... Il lacerato spirito' (to you my final farewell, haughty palace, cold tomb of my angel). Ferruccio's gorgeous, rounded tone in his lower register sustained deeply despondent colours until the Finale. His voice was lush and lyrical in his Duet with Simon Boccanegra, 'Suona agni labbro il mio nome' (Sounds every lip my name). The title role was played on both nights by the acclaimed and powerful Belarussian baritone, Vladislav Sulimsky with captivating, dramatic presence. The chorus of the Mariinsky Theatre was stunningly beautiful and clear and provided lyrical commentary and lightness. The only female high voices in the Prologue, they lamented Maria's passing from off-stage. There is a juxtaposition in mood here as Boccanegra finally realises his beloved Maria is dead while hearing the crowd cheer, 'Viva Simon!'. Two characters introduced in this production by Andrea De Rosa prove a clever twist of creative design: The Ligurian Sea is projected as a constantly changing backdrop and presence, reacting to the drama and mood on stage. In Act 1:2 there is thunder and lightning over Genoa reflecting turbulence in the region and in Boccanegra's political position. The other is Boccanegra's beloved Maria who is dead from the beginning, yet she is present in every scene, his conscience and comforter. At the end of the Prologue she is bathed in white light as she lies on her tomb, while the cast are shadowed in darkness as the curtain falls. The daughter of Maria, now orphaned Amelia, is introduced in a dusty blue dress in Act 1 with a woodwind and high violin prelude to, 'Comé in quest'ora bruna', (How in the morning light, The sea and stars shine brightly). Distinguished Soprano, Tatyana Serjan astounded the audience with her expressive, rich tone quality across her range in this sincere, contemplative song as she awaits her love, Adorno. Adorno (sung by the prolific tenor, Sergei Skorokhodov) sings a pretty Sicilienne off-stage, then together they sing their first love duet, 'Vieni a mirar la cerula .... Sì sì de l'ara il giubilo' (I came to look at the Cerulean sea). It is a tender, lyrical duet in Ms Serjan's high tessitura, with graceful harmony and balance between the youthful couple. Soon after, another stunning duet expressing joy and exhilaration (comparing two lockets bearing the same portraits) enable Amelia and Boccanegra to realise through dramatic revelation that they are father and daughter, at last united. 'Figlia!...a tal nome io palpito' (Daughter!...at your name my heart palpitates) was sung with breath-taking poise at the end of Act 1:1. Introduced by low strings and brass, the name of the famous sonnet poet, Petrarch is heard in Scene 2 petitioning for peace with Venice. Rebels are surrounding the Palace, and to quel the crowd Simone sings his most famous Aria with grave authority and powers of persuasion, 'Plebe! Patrizi! Popolo!'. It developed into a beautiful quartet with Amelia, Adorno and Fiesco. Ms Serjan's lovely soprano line, pleading for peace soared above her three gentlemen antagonists. Act 1 concluded as Paolo cursed himself with a huge, powerful and perfect tutti Finale. Act 2 was the platform for Skorokhodov to highlight his golden voice of Adonis. Adorno's heartfelt aria, 'O inferno! Sento avvampar nell'anima' (I feel a raging jealousy burning in my soul), dissolved into a familiar lyrical melody, lamenting Amelia's supposed infidelity with deep pathos and conviction. The Trio, 'Perdon, Perdono Amelia' releases the tension and would have struck a cord with Verdi's contemporary audiences at a time of Italian unification. Act 3 used Rosa's most inventive scenery device in his minimalist set design. As Boccanegra was slowly dying, the dark screens opened, louvre-style, to reveal sunshine and deep blue sea. After Fiesco's splendid aria the final moving duet with Boccanegra for reconciliation was too late for him. Boccanegra dies in the arms of his daughter with Maria looking on, naming Adorno as his successor. Chorus crept on quietly singing, 'Gran Dio, li benedici' and kneeled down as Fiesco had the final word. Then rapturous applause broke the spell!
