Verdi: Simon Boccanegra - Royal Opera (© 2018 ROH. Photograph by Clive Barda) |
Revival of Elijah Moshinsky's classic, highly poetic production
Elijah Moshinsky's production of Verdi's Simon Boccanegra at the Royal Opera House, Covent Garden dates back to 1991, and when I interviewed him in 2017 he was rightly proud of it [see my interview]. Rather embarrasingly we had never seen the production and so remedied that lack during the most recent revival.
Verdi: Simon Boccanegra - Carlos Alvarez - Royal Opera (© 2018 ROH. Photograph by Clive Barda) |
Elijah Moshinsky's production, with sets by Michael Yeargan, costumes by Peter J. Hall and lighting by John Harrison, is profoundly beautiful. It retains much of the magical atmosphere that Moshinsky wanted to create and many of the stage pictures resembled the Renaissance pictures which inspired them. Whilst the production is representational in a way that many modern productions are not, it is certainly not naturalistic and its artifice is designed to be part of the style. The result is highly poetic, and leaves lots of space for the singers. No staff director was credited for this revival.
For me, the strongest moments were in the Prologue and in Act Three, when the two opponents were on stage together, Fiesco and Boccanegra. Ferruccio Furlanetto made a powerful, black-voiced Fiesco, vividly capturing the stage whenever he was present. Perhaps the voice was showing signs of wear (Furlanetto is 70 next year) but this chimed in with the character, implacable yet weary and worn down. And he seemed to raise Carlos Alvarez's Boccanegra to great heights. The scene between the two in Act Three was terrific, two old men jostling, remembering old wounds. Alvarez's account of the great Council Chamber scene was very finely done, but his performance was a slow burn one and only in the death scene did we appreciate its cumulative power.
Verdi: Simon Boccanegra - Hrachuhi Bassenz, Francesco Meli Royal Opera (© 2018 ROH. Photograph by Clive Barda) |
Hrachuhi Bassenz is an interesting singer with a fascinating voice which seems destined to play complex characters. She came into her own in the second half of the opera when Amelia is enmeshed in politics and the singer's sense of maturity and complexity fitted the dramaturgy. In Act One, however, she could not quite convey the simplicity and purity of the character, there was a sense of a powerful personality straining to get out.
Simon Shibambu made a fine Pietro, and his opening scene in the Prologue with Mark Rucker made for a very strong start.
Henrik Nánási conducted a lithe, fluent account of the score, one which perhaps did not relish the work's dark chocolate colours as much as it could, and which had a touch of the prosaic to it.
Verdi: Simon Boccanegra - Hrachuhi Bassenz - Royal Opera (© 2018 ROH. Photograph by Clive Barda) |
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- Long time ago: Samling showcase at the Wigmore Hall (★★★★) - concert review
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