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Posts Tagged ‘Luca Salsi’

At this point, my 9 or 10 readers know that I have a soft sport for Verdi’s Simon Boccanegra. When the lights dim in the theatre before the performance, I am always ready for an emotional experience – and all I need is that the artists involved do not mess up. In other words, I can do with “ok”. As a matter of fact, my experience of seeing this opera has been variations of “ok”, until today’s performance in the Grosses Festspielhaus. This was a classy, festival experience with distinguished soloists in top form, amazing choral singing and one of the world’s best orchestras under a top-tier conductor.

Marina Rebeka was not the most touching of Amelias, but she is extremely well equipped for the job. Her sizable soprano is youthful, flexible and always easy on the ear – and she is the kind of singer who won’t find any problem singing all her notes, no matter how difficult the phrase is. She would even mellow during the opera and sang sensitively and tastefully the closing scene. Her Adorno, Charles Castronovo, proved to be an ideal partner. Even if his tenor is light on paper for the part, he was in healthy form and projected round, easy top notes without thinking twice. His singing was Italianate, fervent and appealing. Luca Salsi too was a very convincing Boccanegra, firm of tone, stylish in phrasing and dramatically alert. Some may say he does not compare to famous baritones in the past, but, even in his less than exuberant high notes, he displayed the virtue of making this performance about his character (and not about himself, as many singers in this repertoire). Truth be said, René Pape (Fiesco) almost stoled the show. His bass flooded the auditorium in dark-chocolate sounds, and his singing – even if a bit too straight to the point – was always expressive and elegant. Bravissimo. One feels a bit shortchanged not to find a world-class Paolo (as in Abbado’s or Solti’s recordings from La Scala), but unfortunately that is increasingly an exception – and the baritone cast is the role today never spoiled the fun.

The Vienna Philharmonic offered playing of superlative quality and finesse under Valery Gergiev’s Karajan-esque conducting – the orchestral sound always full, big, rich, flexible and yet transparent. Even if the cast could cope with such abundance of sound, Mr. Gergiev could lighten the picture for the more intimate scene without ever producing pale sonorities. And the Vienna State Opera chorus sang with firmness, homogeneity and animation. When a conductor has forces of such excellency, he does not need to resort to bombastic to make his points. This performance left nothing to be desired in terms of impact, but never needed to appeal to any kind of exaggeration or vulgarity.

Unfortunately, the paramount level of accomplishment is restricted to the musical side of this performance. Andreas Kriegenburg’s staging had more than a splash of amateurism not only in his Personenregie (which is nonexistent) but in his blocking of actors on stage. Saying that singers were often doing things that made no sense to what they were saying is an understatement. They would walk away from each other when they were saying that they were embracing, they would often have to be invisible not to be seen doing things supposed to be hidden in front of everybody and their movements were almost always poorly timed to the score. There is this moment, when Simon asks Amelia how she was able to escape from her kidnappers and, under Kriegenburg’s direction he does not even bother to listen. He walks away without really caring if she had suffered any kind of abuse, unlike every other parent in the whole planet. Just before that there was this moment when he ordered the doors of the palace to be opened for the people outside to enter. And yet nobody actually gets in! When he asks plebeian and patricians to reach out for each other, one would have to use his or her imagination to guess what he is talking about. The updating of the action per se is not a bad idea, the use of cellphones and twitters particularly effective to explain how Paolo could get so much support for Boccanegra’s candidacy in less than 10 minutes… The single set, striking looking as it is, was ill suited for the most intimate scenes. When Simon starts to feel the effect of the poison, he wasn’t even granted a table or a couch to recline on – and the whole affair of the poisoned bottle of water was carried on on a thin shelf near to a wall invisible to those seated in the extreme sides of the theater.

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