Latest news with #SimonBoccanegra
Telegraph
11 hours ago
- Entertainment
- Telegraph
Simon Boccanegra, Grange Park Opera: Simon Keenlyside triumphs in Verdi's smart, sombre masterpiece
Verdi's sombre yet uplifting opera Simon Boccanegra, the story of power struggles and betrayals in 14th-century Genoa, will never be among his most immediately appealing works. But in a production as strong as Grange Park Opera has mounted, with a cast led by the magnificent Simon Keenlyside as the first Doge of Genoa, it accumulates tremendous intensity. David Pountney's vintage staging, with a fine idiomatic Verdi cast, lifts the achievements of Grange Park Opera onto a new level. Pountney's production, billed here as a revival (though the opera has never previously been seen at Grange Park), actually originated over a quarter of a century ago at Welsh National Opera. It is now revived by Robin Tebbutt. No problem there, especially as it has brought with it the outstanding sets by the late Ralph Koltai – bare hanging sheets of metal and mirrors that move, with atmospheric abstract seascapes – all lit to vivid effect by Tim Mitchell. The smell of power is on-stage from the start of the prologue, as the pirate Boccanegra is surprisingly chosen as Doge with the approbation of the crowd. Keenlyside transforms himself, growing in stature and nobility, his voice weaving around Verdi's lyrical baritonal lines with gripping shaping and eloquence. One of the challenges of the score is Verdi's over-reliance on bass voices, but here James Creswell as his rival Feisco (a fine debut here), David Shipley as the popular leader Pietro and Jolyon Loy as Paolo Albani (who poisons Boccanegra) all manage to accumulate great weight, not always avoiding heaviness, but projecting strongly. The only counterweight to this male dominance is the ethereal voice of Amelia Grimaldi, an outstanding debut here by Elin Pritchard. She is revealed as Boccanegra's lost daughter Maria, and their recognition scene is deeply touching, especially when her devoted Gabriele Adorno, sung with stentorian if raw tone by tenor Otar Jorjikia, is overcome with relief at the revelation. The plots turn sour when Adorno is commanded to kill Boccanegra, but Albani's poison has already had its deadly effect, and in the third act the walls close in on the Doge as he fades, nobly blessing all and nominating Adorno as his successor. Verdi had two major attempts at his score: realising that the 1857 version was just too gloomy, he radically revised the piece in 1881. (Mark Elder recently recorded the earlier version.) So there is now a mix of traditional arias, adjusted to provide more continuity, and new ensembles –especially the dramatic Council Chamber scene at the end of Act I. Here the resources of Grange Park, which has limited choral forces, told against the spectacle, which is dominated by a few spiky nobles on stilts. And although conductor Gianluca Marciano drove the score with vigour on Thursday, the playing of the Gascoigne Orchestra isn't yet quite a match for Verdi's ever-subtle accompaniments. However, in assembling such an idiomatic cast in this fine historic staging, Grange Park Opera has raised its game and made a powerful new case for Verdi's score.
The Guardian
26-05-2025
- Entertainment
- The Guardian
Simon Boccanegra review – Opera North's staging of Verdi's knotty score is a brooding triumph
'I had to read this libretto six times before I understood any of it,' fumed the great Italian opera scholar Abramo Basevi in 1859. The work that had defeated him? Verdi's opera Simon Boccanegra, based on a play by the same Spanish writer as Il trovatore, the longstanding sitting duck for potshots at contorted opera plots. Even the composer diagnosed Boccanegra as 'too depressing'. Yet he was persuaded to return to his poorly received score, overhauling it with the help of Arrigo Boito (subsequently the librettist of his final operas, Otello and Falstaff). That revised version was a roaring success in 1881 and is staged quite regularly today – although marshalling its heavyweight lineup of principal basses and baritones, with only a single tenor and soprano to leaven the texture, remains a serious challenge. No stranger to those, Opera North has taken Boccanegra as the latest candidate for 'concert staging' treatment, after its success with Wagner in recent years. This performance at Royal Festival Hall was the finale of a tour that has already stopped off at concert halls across the north and midlands. Directed by PJ Harris, the opera's dark doings in Genoa played out across the three 'rooms' of a subtly lit metal frame stretching across the front of the stage, with marble columns, plinths and benches for a touch of civic pomp and banners for rival political factions hanging overhead. In a gesture Basevi would presumably have appreciated, characters wore election-style rosettes to show which side they were on. The 25 years that elapse between the opera's lengthy prologue and its first act saw one character's parka switched for a different vintage anorak and Simon Boccanegra's sailor peacoat swapped for a political leader's shirt and tie. But we were otherwise rooted in a historical no man's land of ill-fitting suits. Some principals inevitably fared better in this bare-bones set-up than others and the opera's tell-don't-show approach demands real singing actors even in a full staging. Alongside energetic vocal performances from baritones Mandla Mndebele and Opera North stalwart Richard Mosley Evans as the tireless plotters Paolo Albiani and Pietro and Andrés Presno's hefty, heartfelt tenor contributions as political rebel turned romantic Gabriele Adorno, the scenes between Roland Wood's sensitive Boccanegra and his long-lost daughter Maria (Sara Cortolezzis, in a promising Opera North debut) stood out as compelling and poignant. They were amply supported by the other stars of this show: Opera North's excellent chorus – which poured down the aisles of the auditorium for an inspired, immersive take on the ever-powerful council chamber scene – and, above all, the orchestra. Onstage throughout with principal guest conductor Antony Hermus, the musicians served up a vivid and intensely committed performance, the strings a gripping, vital dramatic motor.
Korea Herald
19-05-2025
- Entertainment
- Korea Herald
Chung Myung-whun on ‘my Italian story' that leads to La Scala music director post
Dedicated fan of Verdi, pasta, La Scala and Italy, Korean maestro likens his appointment to 'getting married after loving each other for 36 years.' In a nutshell, what led to the appointment of Korean conductor Chung Myung-whun as the next music director of Teatro alla Scala — the first Asian and only the second non-Italian in its 247-year history — was love. Love for Verdi, for pasta, for Italy, and for La Scala itself. 'It feels like getting married after loving each other for 36 years,' Chung, 72, told reporters at a press conference held Monday at Busan Concert Hall. Since 1989, he has conducted 84 opera performances and 141 concerts at La Scala, ultimately becoming the first-ever honorary conductor of the La Scala Philharmonic in 2023. His number of appearances is surpassed only by the theater's official music directors. 'I don't really know about the politics or whether there was a preference for an Italian,' he said. 'I don't care much about being the first Asian music director. But I was thrilled to hear that I had strong support from the orchestra, chorus and staff at La Scala.' 'There are no words to fully describe it,' he added. 'But with La Scala, it just clicked from the start. They understand exactly what I want to express. I feel a great sense of responsibility. I think about how I can support La Scala's musicians and how I can deliver Verdi's music even better." With his appointment and an even deeper sense of responsibility toward Verdi, Chung finds himself back in study mode. His love for Verdi runs so deep that one of the highest compliments he can give is, 'Perhaps you love Verdi more than I do.' 'I recorded 'Otello' with the Paris Opera over 30 years ago, with Placido Domingo. So now, I feel I have to do it better. That's why I'm taking it on again. My wife asked me, 'You've been doing this your whole life — why are you still studying so hard?' But digging deeper into the music, trying to make it just a little better — that's no easy task. It takes everything I have. But that's what keeps me going.' Chung said that Otello will likely be the first production he conducts after officially assuming the role of music director at La Scala. Among Verdi's operas, "Don Carlo" and "Simon Boccanegra" are his personal favorites. 'Simon Boccanegra especially stands out,' he said. 'The title character embodies what I think a great person should be — generous, warm, noble. That spirit is deeply embedded in the music.' Chung also highlighted music's ability to convey what words cannot — especially messages of love and humanity. He praised Verdi not just as a composer but as a humanitarian, referencing the retirement home for musicians Verdi built in Milan, funded entirely by his royalties. "In a way, Verdi made sure that anyone attending one of his operas was also contributing to a humanitarian cause. Through that act, and through his music, his profound human qualities come through," he said. Chung recalled his first visit to Italy nearly 50 years ago. The young conductor had already developed a love for cooking, having worked in the kitchen of his parents' restaurant in Seattle, since the age of 8. 'With that background,' he said, 'when I went to Italy, I immediately fell in love with Italian food — pasta in particular.' His love for pasta was one of the reasons that drew him to Italy when he decided to spend a year in Europe, during a time when he had few professional engagements. 'I liked the food, and I started to love everything about Italy. And now, it's been 43 years. Then, I thought Italy was the country in Europe most similar to Korea — and the more time passes, the more I believe that,' he added. Though Chung will take the helm of one of the world's most prestigious opera houses, he also hopes to use the opportunity to deepen Korea's cultural identity. 'I hope that when people ask, 'Who are Koreans?' the answer might be, 'They're people who love singing,'' he said. 'I hope Korean people can become less sharp. I hope I can help with that.' He noted shared traits between Koreans and Italians, including passion and a deep love of songs. Chung's vision extends to collaboration between La Scala and the Busan Opera House, which is set to open in 2027. Appointed in 2023 as the artistic director of Classic Busan — a city-run initiative that oversees both Busan Concert Hall and the upcoming opera house — Chung has been deeply involved in shaping the artistic direction of both institutions. His dual role opens the door to new exchanges between Korea and Italy — between Busan and Milan. According to Classic Busan, the partnership will extend beyond performances to include artist exchanges, co-productions, rotating casts, orchestra collaborations, and even shared stagecraft and production technologies. Especially in the early years of Busan Opera House, these collaborations are expected to boost production quality and international competitiveness, Classic Busan noted in a statement. La Scala officially announced Chung's appointment as its next music director on Wednesday, with his tenure beginning in 2027. Founded in 1778, La Scala is a pillar of Italian opera and the site of legendary premieres such as Verdi's "Nabucco," and Puccini's "Madama Butterfly" and "Turandot." Until now, only Daniel Barenboim (2007–2014), an Argentine-Israeli pianist and conductor, has held the position without Italian citizenship. Chung gained international recognition in 1974 by winning second prize in the piano division of the Tchaikovsky Competition. He rose to global prominence as music director of the Opera Bastille in Paris and has conducted nearly every major opera house and orchestra in Europe. Beyond his long-standing relationship with La Scala, he has held major posts with leading orchestras including the Tokyo Philharmonic Orchestra, the Orchestre Philharmonique de Radio France, Seoul Philharmonic Orchestra and the Korean Broadcasting System Symphony Orchestra.
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!
Times of Oman
26-01-2025
- Entertainment
- Times of Oman
An incredible weekend of opera masterpieces at Royal Opera House Muscat
Muscat: The month of January at Royal Opera House Muscat brought classical greatness in opera as audiences experienced a weekend of operatic mastery. Verdi's Simon Boccanegra pulled the audience at Royal Opera House Muscat into a captivating thriller about profound inner conflict and the human capacity for repentance and mercy. This was performed by the prestigious Mariinsky Theatre on January 23 and 25, who also presented a concert of opera soloists in Opera Masterpieces on January 24. Audiences were treated to an incredible three nights of stunning musical performances. Simon Boccanegra by Giuseppe Verdi has been considered one of the great classical operas since its premiere in 1857. In a remarkable career spanning six decades, Giuseppe Verdi (1813–1901) composed Simon Boccanegra at the pinnacle of his career pioneering new heights for operatic art. Opera Masterpieces performed on January 24 with the participation of singers, choir, and orchestra of Mariinsky Theatre presented a programme of beautiful arias and symphonic excerpts from operas and ballets by some of the greatest Russian and European composers including favourites from Glinka, Tchaikovsky, Borodin, Rossini, Verdi, Puccini, Mozart, and Wagner. It was performed by young opera soloists of the Mariinsky Theatre, graduates of the Atkins Young Artists Programme at the Mariinsky Theatre and La Scala Opera Academy. Commenting on the operatic excellence of a weekend, Umberto Fanni, Director General and Artistic Director of ROHM said 'It is an honour to present a weekend filled with such masterpieces as Verdi's Simon Boccanegra, exquisitely brought to life by the Mariinsky Theatre, a historic theatre of opera. It will remain one of the most memorable highlights of our season.' Looking forward to a dazzling February, guests should expect no less eventful a month of extraordinary performances and educational initiatives. Opening the month on February 6 and 7 with one of the only ballet performances this season is A Thousand and One Nights. A Pipe Organ Concert on February 13 with the participation of extraordinary artist Claudio Astronio, harpsichordist, organist, and conductor, will present the grand melodies at ROHM. February will also be a month dedicated to one of the Arab world's most iconic composers and singers, Mohammed Abdul Wahab. Enjoy a week full of educational initiatives delving deep into the timeless music of Abdul Wahab and seeing his works remastered in two homage concerts on February 15 and 20.
