The bicentennial 'Simon Boccanegra' in Parma, Music & Vison 27 March

Very Welcome
The bicentennial 'Simon Boccanegra' in Parma,
appreciated by GIUSEPPE PENNISI

For decades, Simon Boccanegra has been considered a minor opera in the catalogue of Verdi's works. It was seldom performed because it was thought to have an obscure libretto and monotonously dark music. Many authors write that its revival during the second part of the twentieth century was due to Claudio Abbado's La Scala production, which traveled to the United States in 1976. I beg to differ. The real discovery of the beauties in Boccanegra was due to the efforts of Gianandrea Gavazzeni.

The mourning procession in the prologue of 'Simon Boccanegra' at Teatro Regio di Parma. Photo © 2010 Roberto Ricci
It is sufficient to compare the latter's 1973 recording, which has a stellar cast consisting of: Cappuccilli, Domingo, Ricciarelli and Raimondi, with the later Abbado recording which also has an excellent cast including: Cappuccilli, Carreras, Freni and Ghiarov. You can then appreciate the degree to which the earlier recording has the most appropriate approach to the opera and its double intertwined theme: the unwanted, and forced, entry of a 'man-of-the-sea' into the political arena, his ascension to absolute power and his love for his daughter. Verdi despised politics, even though he had unwillingly become an icon of the Italian National Independence and Unity Movement. Also, he had lost his three children when they were very small. As a result, he had a lifelong unfulfilled desire to be a father.

Paolo Pecchioli as Pietro in the prologue of 'Simon Boccanegra' at Teatro Regio di Parma. Photo © 2010 Roberto Ricci
There are two versions of Simon Boccanegra, although certain musicologists maintain that there are actually three. Conceived for La Fenice in Venice, the opera was premièred in 1857, but after that unfortunate performance, it was somewhat neglected by the impresarios of the main Italian theatres. Verdi kept working on this 'disliked and misunderstood child'. A major revision was made in 1868 but, apparently, it was not performed in London until 2001 when it was part of the celebration of the centenary of Verdi's death. It seems that there was also a concert performance in Boston under Eve Queler's vigorous baton. The second version of both music and libretto was made with the help of Arrigo Boito and was produced with great splendor in 1881 at La Scala. However, until the 1970s, this opera did not gain much popularity. Surprisingly, it was not staged at the Metropolitan Opera until 1932.

Simone Piazzola as Paolo Albiani in Act I of 'Simon Boccanegra' at Teatro Regio di Parma. Photo © 2010 Roberto Ricci
The opera is full of noble, moving music. Some of the best examples of this are the great duets for Fiesco and Boccanegra in the prologue and in act three. One of its truly great moments is Boccanegra's plea for peace in act one, Piango su voi, sul placid raggio del vosto clivo. There are also wonderfully lyrical moments in Amelia's greeting to the sunrise at the beginning of act one, Come in quell'aura bruna, with its impressionist accompaniment. Another is Simone's deeply felt reaction to the possibility of his having finally found his daughter with the ensuing duet.

Tamar Ivery as Amelia/Maria in Act I of 'Simon Boccanegra' at Teatro Regio di Parma. Photo © 2010 Roberto Ricci
The real marvel is the second scene of act one which was entirely written by Boito in 1857 and 1868. The plot provides for a dance in the palace's council chamber. The chorus becomes one of the protagonists and both the private and political themes reach their climax. The score is dramatically innovative with a symphonic approach and daring instrumental writing. It formed one of the Italian bridges to twentieth century music but it was too difficult to be fully understood in the 1880s. In act three, the tenor has an applause-provoking romanza, Cielo, pietoso, rendila. The finale, with it's engrossing diminuendo, is one of the most moving conceived by Verdi. I dare to admit that, for me, Boccanegra is the most moving opera in Verdi's catalogue.

Simone Piazzola as Paolo Albiani, Leo Nucci as Simon Boccanegra and, in the background, Francesco Meli as Gabriele Adorno in Act II of 'Simon Boccanegra' at Teatro Regio di Parma. Photo © 2010 Roberto Ricci
The scenery and stage direction of the Parma production came from Bologna. It was also seen in Palermo in 2009. This production is especially significant because it is expected to be included in the 2013 official bicentennial series, which will offer DVDs of all Verdi operas. Applause and accolades called out by the notoriously hard-to-please Parma audience were an indication that it was a good choice and that this production may go far during the next few years.

Act II: Leo Nucci in the title role of 'Simon Boccanegra' at Teatro Regio di Parma. Photo © 2010 Roberto Ricci
After having seen so many computerized projections in the Rome Mefistofele and the Milan Tannhäuser, the simple Boccanegra set based on a fifteenth century painting of Genoa was very welcome. Here, only a few changes in Guido Fiorato's sets and props were made as the drama unfolded. Giorgio Gallione's stage direction was most effective. The plot was divided by only one intermission after the prologue and act one, thus making the performance terse and dense. In the pit, Daniele Callegari had the right approach. The whole score, as conceived by Verdi, took two and a half hours, not nearly three, as did Daniel Baremboim's version, which will reach La Scala after several performances in Berlin. The chorus, directed by Martino Faggiani, performed extremely well.

Roberto Scandiuzzi as Jacopo Fiesco in Act III of 'Simon Boccanegra' at Teatro Regio di Parma. Photo © 2010 Roberto Ricci
As with many Verdi operas, the voices in Boccanegra are critical. In this production, two veterans, Leo Nucci and Roberto Scandiuzzi, sing with three younger artists: Francesco Meli, Tamar Iveri and Simone Piazzola. Nucci is surprising. At nearly seventy years old, he looked twenty-five in the Prologue. It was not only a matter of make up, either. It was the agility with which he moved on the stage and the volume of his round baritone as his voice engulfed the Teatro Regio with his extended moving legato. Scandiuzzi is younger but the Fiesco role seems tailor made for him.

Roberto Scandiuzzi as Jacopo Fiesco and Simone Piazzola as Paolo Albiani in Act III of 'Simon Boccanegra' at Teatro Regio di Parma. Photo © 2010 Roberto Ricci
Meli, aged thirty, is already a celebrity. He started as a lyric tenor specializing in the agility roles of Rossini and Donizetti. Now he is a successful Verdian tenor who is nearly a spinto. Will he be able to return to lyric roles? His next début is as Jules Massenet's Werther in about four weeks. Little is known about Tamar Iveri. A young soprano from Eastern Europe, she gave an excellent performance as Amelia/Maria. Vocally, she was similar to Mirella Freni, but with much more power and volume. Simone Piazzola, who portrayed the villain, Paolo Albiani, also came to us little known, but he now has the courtship of several agents. In short, if you miss this production as live opera, do not miss the DVD.
Copyright © 27 March 2010 Giuseppe Pennisi,
Rome, Italy

GIUSEPPE VERDI
SIMON BOCCANEGRA
PARMA
ITALY
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