On Oct. 14, the Competition Verdi concluded its performances of Verdi’s “Simon Boccanegra.”
The event was particular because the pageant introduced again the unique 1857 model which is never heard (there are only a few recordings accessible as effectively). So for many opera lovers, a lot of the music was new and totally different.
A Refreshing Look
When Verdi premiered the work on the Teatro La Fenice, it was a flop. Years later the composer introduced on Boito to repair up the libretto (in what show to be a trial-run for “Otello) and Verdi rewrote a lot of the rating, leading to a extra mature and compact work that’s amongst his greatest. And it’s very evident why Verdi wished to rewrite the rating – the unique model doesn’t actually work.
First off, melodically and stylistically, it’s in every single place. There are moments that Verdi makes an attempt to recall his early works like giving Amelia a double aria in Act one and the Act one concertato which is stuffed with vibrant music and makes use of the stretta to finish the act. The orchestrations additionally rely extra on the “um pa pa” accompaniment rhythm, as within the duet with Simone and Amelia. Then there are melodies which can be laid out for the ultimate model which aren’t fairly as expansive or developed. A number of the music is uneven, together with the introduction of Amelia’s aria, which within the closing model is an awakening and comprises a few of Verdi’s most ethereal music.
However then we get to the second and third acts and whereas among the melodies will not be fully as developed as within the closing model, the orchestration is richer and extra dramatic. The tenor aria is undamaged and the trio and the ultimate quartet are basically orchestrated like the ultimate model. However the melodies and the vocal writing aren’t fairly as natural as Verdi would make them in 1881. The crescendoing line of Amelia within the closing quartet doesn’t have the identical progress as the ultimate model and the vocal line is a bit pressured in relation to reaching the climactic excessive notes that float above the ensemble.
With all that mentioned, Riccardo Frizza, who carried out the night, gave an incredible studying with fluid tempi and impeccable transition. I’ll have complaints about this authentic model, however I’m glad the Verdi Competition is experimenting and bringing totally different variations of the works so we will respect Verdi’s revised work.
On the Waterfront in Genova
Valentina Carrasco set the manufacturing in Genoa at a port in a slaughterhouse. Based on the director, a port is a tricky place the place many social points happen and within the case of “Simon Boccanegra,” an opera about politics, betrayals, and energy, it appeared that Carasco had one thing in her playbook particularly when one thinks of movies like “On the Waterfront” and the corruption and mafia. “Boccanegra” performs into these ideas however when all of it got here collectively it appeared extra of a stretch and outrageous, particularly for some theatergoers. The second a part of the opera opens at a slaughterhouse with a bunch of half-cured pigs. The response from the viewers on the closing evening was certainly one of outrage with many screaming, others applauding, and others jeering.
The opening scene gave the impression to be a manufacturing unit the place Boccangera ultimately will get elected as a union head whereas the second act was set in a transport container that acted as Amelia’s dwelling that had a bunch of flowers. There was additionally a celebration scene on the finish of the primary act with an indication “Viva Simone” with flags and dance. The third and fourth act was additionally in a slaughterhouse and the ultimate scene was on a wheat farm that even included a stay goat. One might argue that the slaughterhouse represented chaos and brutality and the wheat farm is a illustration of peace on the finish; if you happen to go deep sufficient it might work on some ranges. However aesthetically on first impression, seeing the slaughtered pigs for nearly an hour ultimately tires you and turns into an assault on the senses. And possibly that’s what Carrasco’s intentions have been however on preliminary viewing, it was a bit a lot.
“Boccanegra” in itself is a really sophisticated work that includes a love triangle, a father-daughter story, politics, and quite a lot of betrayals. With this replace, I have to admit, I turned totally extra confused by the plot and located myself making an attempt to grasp the idea whereas additionally making an attempt to comply with the opera’s libretto.
An Ingenue
Vocally the forged that Competition put collectively is world-class and distinctive in some ways.
Within the function of Amelia, Roberta Mantegna introduced a youthful and pure high quality. The soprano, who is simply 34 years of age, has turn into a rising star in Italy, performing a few of Verdi and Donizetti’s most demanding roles. Vocally she has a fragile Italianate voice that simply fills the home with a roundness that may simply work its approach to the decrease components and better components of the voice. In some ways, it’s a pure voice that’s nonetheless a bit inexperienced and might generally come off as too technical with nice notes and phrases and missing in expression. However with maturity, this may seemingly come naturally for the soprano.
And in some ways in which naivety within the vocal high quality labored effectively for the function Amelia. In her opening “Are available quest’ora bruna,” Mantegna started with a fragile sound that ultimately grew to a mezzoforte. The tone by no means took on heaviness and as a substitute the soprano maintained that fantastic phrasing, holding again her speedy vibrato. The extension into the upper register was additionally versatile, if generally strident and wobbly within the increased reaches.
Mantegna’s voice opened up within the ensuing cabaletta, “Ah! Il palpito deh frena,” the place she confirmed off impeccable coloratura roulades that went from the higher register to the decrease depths. The trills have been additionally sung with readability, whereas cadenzas demonstrated her virtuosic energy.
The following duet noticed Mantegna’s tone darken within the opening recitative, solely to return to the sunshine tone of her opening aria. The opening traces have been sung with a leggero timbre that become a melting and clean sound. It was an incredible distinction to Piero Pretti’s passionate tenor. That mixture of ardor and purity was an fascinating mixture because it launched the way in which these two characters would later work together within the extra dramatic moments of the night.
Mantegna’s caressing tone continued within the duet with Vladimir Stoyanov, who took on the title function. We noticed a extra elated Amelia with extra ardour and gentleness. In “Figlia! a tal palpito” Stoyanov opened the traces with a young baritone that was accompanied by Amelia’s increased register that emphasised the child-like qualities of a lady discovering her father. Her increased register was given a delicacy that allowed each voices to meld effectively.
Within the second and third acts of the opera, Mantegna’s ingenue characterization grew as she commanded slightly extra of the scene in her duet, trio, and closing quartet. Her characterization, whereas remaining harmless, asserted itself extra particularly within the confrontation between Simon and Gabriele Adorno. Right here we acquired to see Mantegna purchase a darker and rounder sound whereas nonetheless sustaining the lyric qualities of her voice. Through the Act two trio the soprano offered anguish and blended emotion that confirmed she was divided by her father and her love for Gabriele. After which within the closing quartet, her crescendoing traces offered an angelic high quality by way of the purity of her timbre.
Mantegna is unquestionably a voice to look out for and one which I anticipate we can be seeing lots of within the coming years.
Ardour and Fireplace
In “Simon Boccanegra,” Gabriele Adorno’s arc doesn’t really get accomplished till the second act when he lastly will get a whole act devoted to his battle of killing the title function. Solely in Act one will we get to see his love for Amelia and a glimpse of his plot with Paolo. Pretti actually made a big impact throughout the second act the place he confirmed off his wide-ranging coloration palette.
He started “Oh! inferno Amelia Qui!” with a dramatic sound that expressed a tormented man that was going into insanity over the considered murdering Boccanegra. His tone continued to rise as he butchered a chunk of meat and the legato line developed to into extra declaimed traces that emphasised that rage. That quickly calmed as he sang “Ah! Io Piango” the place Pretti sang with a craving tone. Within the third a part of the aria “Cielo Pietoso, rendila” Pretti used the lyrical facet of his voice to attach his phrases with a stunning mezzopiano. This was bel canto singing at its greatest. He ended the aria with a forte that ultimately descresendoed and gorgeously disappearing into the area.
His ensuing duet with Mantegna noticed Pretti’s torment develop and his voice continued to realize a spinto sound that was weighty and decisive. A number of the staccato traces, nonetheless, have been ethereal and pointed and he sang them in hushed tones. Through the trio, when Adorno learns Amelia is Boccanegra’s daughter, Pretti sang “Suo Padre sei tu!” with desperation and repeated the phrase “tu” decrescendoing to a piano that exposed his misery on the thought of the homicide he was about to commit. The “Perdon Amelia” that begins the trio noticed Pretti return to the lyricism and passionate tones from the opening. “Dammi la mano” on the hand different hand was sung with resignation. It was a splendid distinction between the polish of Vladimir Stoyanov’s Simon and the harmless and pure tone of Mantegna as famous.
On the finish of the opera, as Adorno is known as Doge, one might see the regret in Pretti’s face as he sang the ultimate traces “Padre, Padre” alongside Mantegna. It was a virtuosic efficiency that was full in each means and one which showcased what a Verdi tenor ought to like.
The Noble Doge
Vladimir Stoyanov portrayed the title function with the Aristocracy and poise. The opening act noticed his torment as he was looking for Maria and as he interacted with Fiesco. Boccanegra doesn’t have a correct aria however as a substitute interacts with every of the characters round him and his moments alongside Amelia demonstrated a caring father determine in addition to an individual who has gone by way of a lot struggling.
As famous, he carried a sublime baritone sound that was each tender and caressing as he swept by way of the attractive Verdi traces within the duet. Within the ensuing Act one popolo scene the baritone’s “Plebe! Patrizi!” just isn’t within the authentic model so a potent second of betrayal and confrontation between Paolo, the refrain and Simon is gone. This scene is Simon’s however on this model, he’s merely relegated to being a part of an ensemble. There nonetheless have been some moments within the ensemble the place Stoyanov acquired to point out his command and pressure and there are some declaratory moments that have been undoubtedly not as efficient as those within the closing model.
It’s actually within the second half that we get to see Simon’s type soul but in addition his agony. Within the second between Amelia and Simon we see his heat and torment. Stoyanov displayed this as he initially sang his traces with forte energy that was nearly grainy earlier than returning to better refinement as he tried to appease Amelia.
That contradiction was greatest displayed within the monologue “Doge! Ancor proveran a tu aclemenza” which started with parlato phrases in addition to sustained forte notes. However because the part went on, Stoyanov began singing with extra hushed tones that have been generally breathy, notably in his supply of “O Ciel.” As he drank the poison and lied down, the voice took on a weaker timbre. Through the opening of the trio, there was a grittiness that included accented notes that really labored effectively with Pretti’s passionate singing. That ultimately turned to poise and compassion as he sang “Si tempo splenda a liguri.”
In his duet in Act 4 with Riccardo Zanellato, Stoyanov’s Simon was absolutely suffering from his actions of the previous. He displayed a delicate tone that was effectively suited to Zanellato’s Fiesco who sang with a basso profondo. The duet was heartbreaking as Stoyanov’s Simon continued to weaken from the poison mendacity down on the ground as Zanellato held him up in a loving means. On the finale of the opera, Stoyanov’s “Gran dio, li benedici piestoso” was a lament. He sang to Mantegna’s Amelia with a breathy tone in addition to with attractive legato mezzoforte. His face expressed struggling however on the identical time peace. Hello closing “Maria!” sounded nearly as if he was crying for the brief time he acquired to spend together with his daughter.
Like Stoyanov’s noble Boccanegra, Riccardo Zanellato’s Fiesco was removed from a villain. He by no means got here off as a personality searching for vengeance. As an alternative, he got here as one stuffed with struggling. His “Il Lascerato Spirito” was a lament that showcased a booming bass and a few excessive low notes that resonated with energy on the finish of the aria. One might hear his longing as he sang the traces “Resa al fulgor degli angeli.”
Within the function of Paolo, Devid Cecconi introduced a muscular baritone that was all the time lurking within the background, scheming for his vengeance. In each interplay with Fiesco and Gabriele, he was within the background and introduced himself as a demonic character.
Within the pit, Riccardo Frizza led a swift interpretation of the rating that emphasised the dramatic moments, such because the opening of Gabriele Adorno’s aria in addition to the extra tender moments just like the ending which one might hear an angelic and peaceable conclusion. The refrain was additionally in high type and so they have been fairly incredible throughout the chilling Act one concertato. The ebsemble was additionally thrilling within the prologue when declaring Boccanegra the Doge.
Ultimately, this will not be the model of “Simon Boccanegra” you need to hear however it is a crucial historic doc that was fortunately streamed and will be heard and seen have for years to come back.