This Deutsche Grammophon DVD of Boccanegra has been available for a while now. Recently, I decided to add it to the collection, replacing my old worn out tape of the same performance from Channel 13. This is a video of the Met's current production, designed with some success by Giancarlo del Monaco, son of the great tenor Mario. Although it presents a lovely Mediterranean setting, and a truly whopping Council Chamber--damn that's a big set--it lacks one important element crucial to this opera. At no point can you see the ocean. This is a problem for an opera that is a) about a corsair, a kind of pirate b) features "sea pictures" throughout its score and c) is set in the very aquatic city of Genoa, Italy
That quibble aside, this is for the most part, a superior Boccanegra. It's shame that budget cuts prevented Levine and orchestra from making a full studio recording as part of their (terminated) Verdi series for Sony. From the night-time opening to the opera's moody conclusion, the Met orchestra plays with razor-sharp precision, especially in the woodwind textures that give this most beautiful of Verdi scores its unique nautical feel. The house chorus is also heard at their best in this performance. In an opera that is about political power as well as private struggles, they provide a noble vox populi throughout the actin,
This performance features three very strong baritone/bass roles. First off, Vladimir Chernov's dynamic turn in the title role. This is the singer at his brief height in the 1990s. He cuts an imposing onstage figure, and rises admirably to the considerable vocal challenges presented by this opera. Even better is Robert Lloyd in the role of Fiesco, the proud nobleman who swears vengeance upon Boccanegra (for seducing and impregnating his daughter--then losing the baby. Long story.) Lloyd, always an underrated bass, positively nails "Il lacerato spirito", making this impressive aria drip with heartbreak. The third baritone is Bruno Pola, who thrives like a Genoese Danny DeVito in the villainous role of Paolo, the power broker who gets Boccanegra on the Genoese throne and then plots his death. Pola is at his best in the hushed opening scene, singing his ballade with flair.
While the three deep-voiced gentlemen rock the house in this performance, less can be said for the all-star pair of lovers who make up the opera's secondary plot. Placido Domingo is in excellent voice here as Gabriele Adorno, singing with sweetness and a faint metallic ring that characterizes many of his Verdi recordings. Opposite him is Kiri te Kanawa, the New Zealand songbird. She is generally excellent in the lighter Verdi roles, and this is her second recording as Amelia (following a recently reissued 1989 Decca set with Georg Solti). Unfortunately, the camera shows these young lovers to be miscast physically--Domingo and te Kanawa are just too old for a pair of characters that are all about ardent youth. Happily though, te Kanawa has good chemistry with Vladimir Chernov--the father-daughter duet is sung here as a work of heart-melting sentiment under James Levine's expert baton.
Our motto: "Critical thinking in the cheap seats." Unbiased, honest classical music and opera opinions, occasional obituaries and classical news reporting, since 2007. All written content © 2016 by Paul J. Pelkonen. For more about Superconductor, visit this link. For advertising rates, click this link. Follow us on Facebook.
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Critical Thinking in the Cheap Seats
- Since 2007, Superconductor has grown from an occasional concert or CD review to a near-daily publication covering classical music, opera and the arts in and around NYC, with excursions to Boston, Philadelphia, and upstate NY. I am a freelance writer living and working in Brooklyn NY. And no, I'm not a conductor.