Verdi’s 21st opera about a 14th-century corsair who became Doge of Genoa had a difficult time. It failed at its 1857 premiere but Verdi never to give up, revised it drastically for La Scala in 1881 where it was vindicated, but the opera never caught on with the public until 1977 thanks to Claudio Abbado and the stereo era. This present reincarnation is from the hands of German director Andreas Kriegenburg who brought it into the present with its political turmoil, civil unrest, urban chaos etc., featuring people dressed uniformly in dark suits running around with smartphones. The set is architectonic, stark and monumental in black and white and fills the wide stage of the Grosses Festspielhaus admirably while creating a sinister and foreboding effect. Now and again we catch a glimpse of the Ligurian Sea in blue that’s picked up in the colour of Amelia’s dress, the only colour in the set.
Conductor Valery Gergiev, to whom the director dedicated the show, concentrates on the inner life and conflicts of each character and the lyricism of the music, although the latter gathers excitement and tremendous dynamics especially in the council chamber scene – a gripping focal point of the opera featuring Verdi’s masterful ensemble writing. The cast is superb: Luca Salsi is a strong but conflicted Simon Boccanegra with a warm lyrical voice. His pianissimo singing of the word figlia after the famous Recognition Duet is quite incredible. As his daughter Amelia, Polish soprano sensation Marina Rebeka, is a genuine treat and very strong in the high registers. American tenor Charles Castronovo is a youthful, passionate Adorno, her lover. Basso profundo René Pape, as Simon’s nemesis, is a dignified, noble Fiesco, with an impressive vocal range.
A memorable musical experience with strong emotional impact.
ENSEMBLES
Concert Association of the Vienna State Opera Chorus
Ernst Raffelsberger, Chorus Master
Vienna Philharmonic
CREATIVE TEAM
Valery Gergiev, Conductor
Andreas Kriegenburg, Director
Harald B. Thor, Sets
Tanja Hofmann, Costumes
Andreas Grüter, Lighting
Peter Venu, Video
Julia Weinreich, Dramaturgy
Reviews
Marina Rebeka endosse ce rôle avec cette assurance qui la qualifie si bien pour les héroïnes verdiennes et fait merveille pour Violetta, Luisa Miller, et aujourd’hui pour la fille de Boccanegra.
TOUTE LA CULTURE
Die bildhübsche Lettin verfügt über eine außerordentliche, große Stimme. Mit spielerischer Leichtigkeit übertönte sie Chor, Orchester und Ensemble. Vor allem aber waren ihre leisen Töne von betörender Klangschönheit und Reinheit, was durch mühelose und sauber gestaltete Übergänge noch eindrucksvoller wirkte.
OPERA GAZET
Her Amelia is rooted in fine, familiar, qualities – but now in a more generous tone spiked by a new found metal when under pressure above the stave which will undoubtedly well serve forthcoming engagements which include Bellini’s Norma and Leonora in Il Trovatore.
THE OPERA CRITIC
Marina Rebeka donne une grande Amelia, la puissance de son soprano domine sans difficulté aucune celle de ses partenaires masculins qui sont pourtant de grande envergure, et passe sans problème les choeurs et l’orchestre. Le chant est d’une sensibilité extrême; l’interprétation d’une authenticité poignante est celle d’une grande chanteuse à la technique pleinement maîtrisée, ce qui dénote l’intelligente et la maturité de son approche et la connaissance très exacte de ses moyens.
OPERA WORLD
Marina Rebeka als Amelia Grimaldi konnte Ihre große Stimme erklingen lassen und überzeugte vor allem in den hohen Tönen.
OPERN MAGAZIN
La joven cantante letona Marina Rebeka fue una delicia como Amelia, mostrando un instrumento de soprano lírica de gran calidad, con un registro amplio y una rica pátina cromática. Su fraseo, siempre elegante, le permitió abordar desde la delicada cavatina «Come in quest’ora bruna», pasando por los dúos con Adorno y Boccanegra o la página «Nell’ora suave» con delicadeza e intensidad a partes iguales.
OPERA ACTUAL
Marina Rebeka governa con agio la scrittura non sempre facile di Amelia, sfoggiando un canto ineccepibile a tutte le altezze e intensità.
MUSICA