Giuseppe Verdi (1813-1901)
Simon Boccanegra (original 1857 version)
Opera in a prologue and 3 acts in the critical edition (2022) prepared by Roger Parker for Casa Ricordi
Simon Boccanegra: Germán Enrique Alcántara (baritone)
Amelia: Eri Nakamura (soprano)
Gabriele: Iván Ayón-Rivas (tenor)
Paolo, Sergio Vitale (baritone)
Pietro, David Shipley (bass)
Amelia’s Maid, Beth Moxon (mezzo)
Chorus of Opera North, RNCM Opera Chorus
Hallé/Sir Mark Elder
rec. 2024, Hallé St Peter’s, Ancoats, Manchester, UK
Sung texts and translations included
Opera Rara ORC65 [2 CDs: 133]
I cannot review this 2024 studio recording of Verdi’s Simon Boccanegra (1857 version) without considering how this was Sir Mark Elder’s final opera as musical director of the Hallé.
Prior to Elder conducting his first concert as Hallé music director in 2000 the orchestra seemed rudderless, in dire straits financially and artistically bereft. Like many others, I had ceased going to Hallé concerts in Manchester. Elder can take significant credit for the rejuvenation of the Hallé during his twenty-four-year tenure. Kahchun Wong has since been appointed principal conductor and artistic advisor with Elder now the Hallé conductor emeritus.
In 2012 I interviewed Elder in Manchester. Although I knew his conducting predominantly through his orchestral concerts, it soon became evident that opera is one of his great passions. As music director of the Hallé, he shared his enthusiasm with the Hallé in a number of concert stagings, notably Wagner’s Der Ring des Nibelungen and Parsifal and in 2003 the Hallé launched its own record label which now has many operas amongst its releases. Away from orchestral concerts with the Hallé, Elder takes the opportunity to conduct opera and has guested at many of the greatest opera houses.
I recall Elder explaining in a magazine interview that in 1972, as a fledgling conductor and protégé of Sir Edward Downes, he cut his teeth by touring with Downes and working with Australian Opera at the Sydney Opera House. Over two years he gained immensely valuable experience conducting some ten different operas and a total of 165 performances. His successful conducting of the English National Opera led to his appointment as the company’s music director, serving from 1979-93.
He was the artistic director of Opera Rara from 2012-19, with recordings of overlooked operas mainly by Donizetti; notably, Dom Sébastien and Les Martyrs, and Rossini’s Semiramide. A lover of Italy and Italian opera Elder clearly has a particular enthusiasm for Donizetti, Rossini, Bellini and Verdi. I recall Elder in an interview with Tom Service saying, ‘in another life, I should have been born Italian’.
Given this devotion, it is small wonder that he chose an opera project for one of his final concerts as Hallé music director. It is no surprise, too, that Elder selected an opera by Verdi as he considers the Italian ‘a great dramatist’. The choice to record Simon Boccanegra and to give a concert performance at the Bridgewater Hall was a smart one; many Verdians, myself included, consider Simon Boccanegra, although greatly undervalued, to be a great work.
In 2014 at Semperoper, Dresden I reported from a production of Boccanegra in the greatly revised 1881 version by German stage director Jan Philipp Gloger. Although the staging was dark, I wrote that the performance was a most enjoyable success. It is an opera that Elder knows extremely well having conducted the work in several different productions mainly using the revised version of 1881. For this new recording, he chose to use Verdi’s far lesser known original 1857 version, the first of the new critical edition (2022) prepared by Roger Parker for publisher Casa Ricordi. Only recently made available to scholars, this edition is based on Verdi’s original autograph score.
Francesco Maria Piave wrote the Italian libretto for Verdi with additions by Giuseppe Montanelli. Piave based the libretto on the drama Simón Bocanegra (1843) by Spanish dramatist Antonio García Gutiérrez. When premiered in March 1857 at the Gran Teatro La Fenice, Venice and performed at other Italian cities, Boccanegra audiences gave indifferent responses, and soon it fell out of view. Although, musically daring and progressive work for its time, many considered its knotty libretto to be too sombre, uneven and disjointed, and not helped by two characters emerging at different times under assumed names.
Following the promptings of his publisher Giulio Ricordi, Verdi finally agreed to rehabilitate Boccanegra. Arrigo Boito was chosen to improve the libretto that resulted in major revisions together with Verdi making substantial changes to the score. The most important change was the addition of ‘The Council Chamber Scene’ to act one. Premiered in March 1881 at La Scala, Milan the second version was much better thought of, almost totally supplanting the first version of 1857.
In view of Verdi’s discontent with his original 1857 version of Boccanegra it might seem odd that Elder would choose to revive this much-maligned score. Well looking back today some 170 years later the original 1857 version seems to reflect the climate of political and social conflict connected to the prospects of Italian unification, that was established in 1871. Musicologist Roger Parker, repertoire consultant for Opera Rara, wrote in his booklet essay ‘the dark, counter-revolutionary atmosphere of the late 1850s in which hope of a new Italy was at something of a low ebb’.
In April 2024, I attended the Hallé/Elder concert performance of Boccanegra in the original 1857 version at the Bridgewater Hall. Although it was a captivating live event, it wasn’t used for this Opera Rara recording. A short time prior to the concert performance a studio recording of Boccanegra was made at Hallé St Peter’s in Ancoats, Manchester. Concerning the use of the 1857 version of the score Roger Parker explained ‘the autograph materials thus provide a rich new resource, offering us the chance to see Verdi’s richly detailed musical instructions for the first time’. Back in 2004 Opera Rara released a recording of Boccanegra. It was a live performance with an invited audience from a 1976 BBC concert at London’s Golders Green Hippodrome conducted by John Matheson on a 2 CD set. At the time Opera Rara was describing the album as an ‘original’ version however that was before the 1857 critical edition used here was published.
The opera Simon Boccanegra is based on a genuine figure from history who in 1339 was elected as the first ever Doge of the republic of Genoa. Set in the fourteenth century, this thrilling tale of political and family intrigue revolves around love and devotion, loyalty and conspiracy, and deadly revenge. In the libretto Simon Boccanegra was a corsair; however, it seems more likely that the pirate in the real family was his brother Egidio. Despite his humble origins, Simon Boccanegra was ennobled and elected first Doge of Genoa.
Gathering an international cast of soloists wasn’t plain sailing, owing to several withdrawals. Simon Boccanegra, the first Doge of Genoa, is regarded as one of the great baritone roles, although he has no solo arias. Both Igor Golovatenko and his replacement Nicola Alaimo withdrew from the role, so making his Opera Rara debut as Boccanegra was Argentinian baritone Germán Enrique Alcántara. Clearly savouring this opportunity Alcántara sings with vigour, and his vocal production reveals at times a special sweetness Singing a role making considerable demands, Alcántara is imposing as a Boccanegra once energetic and virile but now careworn and suffering emotional distress. Notable in Act One is Boccanegra and Amelia’s recognition duet Orfanella il tetto umile. Compellingly performed by Alcántara and Nakamura, this emotionally charged duet occurs at a key point in the opera where Boccanegra discovers that Amelia is his daughter.
A cast change also affected the role of Maria Boccanegra (Amelia Grimaldi) the illegitimate daughter of Simon Boccanegra and the late Maria Fiesco. Eleonora Buratto withdrew, giving Japanese soprano Eri Nakamura the opportunity on her Opera Rara debut. I feel the role is rather too substantial for her, yet she responds with high energy and total conviction. She has an arresting voice of clarity that carries well together with plenty of heft. She isn’t an overbright soprano and displays agreeable radiance in her mid-range. Her high notes are held adequately and her coloratura is acceptable. Her quick vibrato doesn’t impair my enjoyment although when charged with passion there is unruliness. I especially enjoy Amelia’s scene and cavatina Come in quest’ora bruna… Spuntò il giorno! where at daybreak she sits alone by the window waiting for her lover Gabriele. Nakamura wins me over by her sincerity and conviction together with the sheer vibrancy she gives to her challenging role.
Peruvian tenor Iván Ayón-Rivas first sang for Opera Rara as Arturo Murray in Mercadante’s Il proscritto. Here, he sings the role of Gabriele Adorno, the lover of Amelia and the political adversary of her father. Particularly gratifying is the Act One scene of Gabriele and Amelia’s love duet Ti veggo alfin… Sì, sì dell’ara il giubilo. Amid a climate of conspiracy, Amelia and Gabriele are anticipating the joy of marriage and swear they will be lovers beyond the grave. Determined and convincing in the role, Ayón-Rivas displays an alert and strikingly clear voice that generates considerable passion.
English bass William Thomas excels in the role of nobleman Jacopo Fiesco, a.k.a. Andrea Grimaldi. His prologue scene with the passionate lament with chorus A te l’estremo addio… Il lacerato spirito is impressive, displaying Thomas’ dark, sonorous tone. As Fiesco learns of Maria’s death, he sounds suitably anguished.
Genoese goldsmith Paolo Albiani has become the Doge’s favourite courtier. Paolo then turns against him, abducting Amelia and poisoning the Doge. This maybe a small role, yet Italian baritone Sergio Vitale takes it very seriously, sings well and makes a rebellious and scheming Paolo. Another minor role is Pietro a former popular leader who becomes a courtier. Sung by David Shipley he displays a clear bass that communicates handsomely. Mezzo-soprano Beth Moxon sings deftly with clarity in the role of Amelia’s maid.
Under Elder the Hallé excel producing an abundance of drama whilst remaining alert and focused, playing outstandingly. The orchestra displays its love of the score from the slightest of sounds to full-bodied climaxes. The forces of the Chorus of Opera North coached by Anthony Kraus and the RNCM Opera Chorus under Kevin Thraves are combined and are a rousing success; their singing is terrific, both unified and highly expressive. The younger voices of the music students added to the more experienced singers of Opera North blend together splendidly. Recorded under studio conditions in Manchester at Hallé St Peter’s, Ancoats, the sound quality is first class.
Although the revised 1881 version of Boccanegra is a marvellous opera this Opera Rara recording of the 1857 version, in the critical edition, is also eminently recommendable. I see this recording of Simon Boccanegra with Sir Mark Elder conducting the Hallé as an important example of the partnership’s rich artistic legacy.
Michael Cookson
Previous reviews: Philip Harrison (March 2025) ~ Daniel Floyd (April 2025) ~ Ralph Moore (April 2025)
Buying this recording via a link below generates revenue for MWI, which helps the site remain free
