It is a challenge for any theater to be able to assemble the right cast for Simon Boccanegra, one of Giuseppe Verdi‘s most vocally demanding operas. And even more difficult is in a theater like the San Carlo in Naples, which, scrolling through the programme, has seen in this opera, over the years, historical singers such as Tito Gobbi, Leyla Gencer, Pietro Cappuccilli, Cesare Siepi, Ileana Cotrubas, Renato Bruson!
But on the occasion of these performances, the theater management succeeded in assembling what can be defined, without fear of contradiction, as “the perfect cast”. Two performances in the form of concert, with the large stage of the most beautiful theater in the world hosting a suggestive installation by the great Japanese architect Kengo Kuma, who recreates in white, the Japanese color of purity, the waves and the movement of the sea, perhaps the true protagonist of this opera set in Genoa, the city where Verdi lived in the winter.
In the role of Simon Boccanegra, first Doge of Genoa, elected by the people in 1339, the baritone Ludovic TĆ©zier, one of the greatest singers active today, who gave life to a historical interpretation, vocally dominating the impervious role both in the many fearsome high notes and in the more central tessitura. The identification with the character is total and the baritone from Marseille manages to fully convey all the many facets of the Doge, from the political ones, in a masterful Council scene, to the family and private ones, in the affectionate duets with his daughter. The death scene is resolved with half-voices and thrilling pianissimi, and full mastery of what Verdi called “parola scenicaā.
In the role of the antagonist Jacopo Fiesco we found the great bass Michele Pertusi, a singer with a huge career who is able to excite the audience more and more with his phrasing, sculpted words and the ability to immerse himself in the character as only the greatest artists can do ; Pertusi is masterful in conveying the hatred and resentment of the old Fiesco in the famous aria “il lacerato Spirito” and above all in the final phrases that close the opera.
Maria Boccanegra, the only female character in the opera, finds the enchanting interpretation of Marina Rebeka; the latvian soprano is today at the peak of her career, and finds in the unfortunate daughter of the Doge, an ideal role for her luminous voice of true lyric soprano. The beauty of the timbre is combined with the perfect bel canto technique which allows her to exhibit very bright high notes and suggestive pianissimi and filati. The interpreter is perfectly immersed in the character and fully participates in the duets with her father and with her beloved Gabriele Adorno.
This last character is fully suited to the Genoese tenor Francesco Meli, a veteran of the role and a true Verdi singer, who will debut next month the iconic tremendous role of Otello. Meli stands out for the beauty and projection of his voice and the perfect verdian accent and phrasing resulting from work with the greatest conductors of our times.
In the role of the evil Paolo Albiani, a character that anticipates and prefigures the perfideous Iago, we found the young baritone Mattia Olivieri; also trained in belcanto, he is gradually approaching Verdi roles, which are vocally heavier, and he manages well to resolve his character with great vocal confidence and intelligent phrasing. Michele Spotti‘s conducting is correct, very detailed in the instrumental structure, without big ideas, poor in colour but functional in highlighting the great performances of the singers on stage.
The sold-out theater decreed a true triumph for an evening that will remain in our memories for a long time.
