Giuseppe Verdi’s Simon Boccanegra is renowned for its intricate plot and tumultuous composition history. Set against the backdrop of 14th-century Genoa, the opera opens with a prologue that swiftly unfolds a tale of love, betrayal and political intrigue. Simone Boccanegra, returning to his hometown, is met with the tragic news of his beloved Maria's death following the disappearance of their daughter, also named Maria. Within moments, he finds himself thrust into the position of Doge, the head of state, in a whirlwind of events.
Twenty years elapse before the first act, during which Boccanegra’s daughter lives under an assumed identity, unaware of her true parentage. The narrative intricacies deepen as Boccanegra navigates the complexities of power struggles between the patricians and plebeians of Genoa. His relentless pursuit of peace and reconciliation amidst political turmoil shapes the destinies of the opera's central characters. Boccanegra's fraught relationship with Jacopo Fiesco, Maria's father and a prominent nobleman, epitomises the tensions between the aristocracy and the common people. Likewise, the romantic entanglements involving young Maria's suitor, Gabriele Adorno, reflect the interplay of love and loyalty amid the backdrop of political machinations.
After its initial failure at the Teatro La Fenice in Venice in 1857, Verdi, deeply disappointed, was adamant in his resolution to abandon it entirely – in his own words, the opera was “sad and monotonous”, its gloomy character only occasionally disrupted by few lyrical moments. Giulio Ricordi's unwavering insistence on reconsidering the score led to a revised version premiered at La Scala in Milan in 1881. Despite the success of the Milan version, its path was not easy, and only recently it has established its place in the repertoire.
In his new production for La Scala, director Daniele Abbado embraces a minimalist approach to the narrative, opting for nearly bare sets adorned with panels resembling concrete, which frame the space in various configurations. Different elements, such as a sailing ship or a tree for the garden scene in the second act, are strategically introduced to signify various locations. Notably, Alessandro Carletti's lighting plays a pivotal role in swiftly altering the mood of scenes, employing oblique lights in subtle hues to evoke imagery like the moon's reflection on the sea. Abbado meticulously choreographs crowd scenes, with the chorus and extras moving fluidly amidst chaos and excitement, including several popular revolts. While the fighting sequences are particularly effective, the Personenregie lacks detail, often leaving singers to rely on generic gestures. Nonetheless, the overall direction remains unobtrusive and frequently aesthetically pleasing.
On the podium stood Lorenzo Viotti, conducting this opera for the first time. His interpretation highlighted the drama, extracting intensity from the exceptional La Scala orchestra. The performance was characterised by fluidity and a rich sound, maintained by a brisk tempo. Occasionally, these tempi felt overly hurried, particularly in moments such as the soprano-tenor duet. However, the introduction to Amelia's Act 1 aria was lyrical, exuding a sense of languor and sweetness. Throughout the performance, Viotti appeared to prioritise drama over a sense of ensemble: he did not seem to “breathe with the singers” enough, and at times they seemed struggling to assert themselves through the relentless orchestral weave. Not a matter of volume, more a matter of charisma. Nevertheless, the result was exciting.
Luca Salsi's portrayal of the title role was met with resounding acclaim. His rich, velvety baritone beautifully conveyed the humanity of Boccanegra, capturing his deep affection for his daughter and even empathy towards his adversaries. Particularly memorable was his impassioned plea for peace and love amidst the chaos of the Council Chamber scene, a standout moment in his superb performance. However, his interpretation lacked the authoritative presence and pragmatic ruthlessness expected of the Doge. Nevertheless, Salsi excelled vocally, placing great emphasis on the nuances of mezza-voce and pianissimi, effectively conveying pathos and emotion throughout his portrayal.
Eleonora Buratto portrayed Amelia Grimaldi, aka Maria Boccanegra. Her blossoming soprano possessed a distinct Italian quality, especially her excellent legato. However, she encountered some minor issues with the highest notes, occasionally sounding strained, and opted to forego the trill at the conclusion of the grand chorus towards the end of Act 1. Nonetheless, the undeniable beauty of her voice made her performance highly enjoyable.
Gabriele Adorno, Amelia's lover, was portrayed by Charles Castronovo, whose tenor exuded a dark and heroic quality, though at times it verged on being overly intense, especially in his first aria, meant to be a serenade. However, he truly shone in his Act 2 aria, where his youthful enthusiasm and powerful high notes garnered much appreciation, earning him perhaps the only showstopping applause of the evening. Ain Anger was somewhat disappointing as Fiesco, his booming bass effective in the lower register, but with constricted high notes.
