BP Big Summer Screens – Verdi’s ‘Simon Boccanegra’ – Live from ROH, to Trafalgar Square
17 Jul 2010 Leave a Comment
in ROH Reviews
I have to admit to being rather amused at the excitement surrounding Placido Domingo’s appearance at the Royal Opera House. In my experience, when they advertise and promote a singer or a performance to the extent which they have done for Simon Boccanegra, the public will expect the performance to be brilliant, see it as brilliant, and go away believing it was brilliant, regardless of whether it actually was or not. And truly, when it comes down to it, there were at least two voices to be heard on Tuesday night that were just as wonderful as Domingo’s, and – dare I say it? – one better. Stepping in for Ferruccio Furlanetto as Fiesco at extremely short notice was Royal Opera regular, and personal favourite of mine, John Tomlinson. I don’t mean to lessen the beauty and skill of Domingo’s voice – which truly is wonderful – but Tomlinson never really fails, and the tone of his bass is really in it’s own league. Even singing from the wings (while Furlanetto acted the role) his voice filled the auditorium with such incredible power and splendour. His truly is a tone that hits the soul and resonates throughout. However, it is arguably incomparable with Domingo’s rich baritone (another reason for excitement as this was Domingo’s first baritone role for RO), which seems to drip honey and cover every syllable with fluidity. His voice is perhaps not as strong as Tomlinson’s, but it has an entirely different effect on the audience.
Other notable performances came from Jonathan Summers’ Paolo and Marina Poplavskaya as Amelia. Summers was pure evil incarnate, spitting all over the stage – which made me wince initially and then seemed completely appropriate – and singing with brilliant poignancy and power. Poplavskaya by comparison was beautiful and gentle, as Amelia should be, while her voice was heart-wrenching and strong. I also very much enjoyed her clear pride at working with Domingo. Two wonderful performances. Unfortunately Joseph Calleja was rather overshadowed by the skill and brilliance of the other singers. As Adorno he acted the part admirably, and I truly did find his love for Amelia, and his choler as a man of action palpable. However, his voice was nothing special, simply skimming over the audience and filling the role, but nothing more.
Furthermore, Michael Yeargan’s set design appeared to have been lifted straight out of Monty Python’s Life of Brian – particularly when they began to paint words across the walls, extremely reminiscent of the famous grammar lesson scene. Also, while it was used rather well – none of the stage or set went to waste – I never got a sense of being in a new space; it always felt like one of two rooms, arranged differently, throughout. Likewise, the costumes, designed by Peter J Hall, seemed largely uninspired. Most notably, our leading man wore, what can only be described as a carpet, for far too long. Nothing flowed as it should have. Having said that, Amelia had some very beautiful costumes, which moved beautifully, but against the rest of the production, didn’t seem to work (except when she was alone, when the whole picture was superb.)
Thankfully, and as usual, both the Orchestra, conducted by musical director Antonio Pappano, and the Chorus of the Royal Opera House, under Renato Balsadonna, were truly splendid. It seems that they get better with each performance, particularly under Pappano. Although, arguably, Italian opera is not his forte, it is still splendid.
An altogether unbalanced performance of Elijah Moshinsky tired 1991 production, but containing some marvelous performances.
However, as I have said before, when it comes to BP Big Summer screens, it seems to matter very little what is on the screen. It is always an enjoyable experience. And free, so if you really aren’t in the mood, or the rain pours down too heavy, you don’t feel too much obligation to stay, which, ironically, makes me want to stay! I only wish they would do more than three a year. If the number of people in Trafalgar Square is any indication, opera is extremely popular, but just too expensive, when it comes to actually visiting the opera houses. However, they are getting better; Francesca Zambello’s Carmen (review below) has been filmed in 3D and will be shown in cinemas across the country in the Autumn, so look out for that.
Review of Zambello’s production of Carmen: http://operagurl.wordpress.com/2009/10/14/bizets-carmen-royal-opera-roh/
Simon Boccanegra, ROH 1991
