This 2010 revival of Simon Boccanegra from the Met was designed to showcase Placido Domingo’s undertaking of the title role, normally sung by a baritone. The opera is one of Verdi’s most darkly scored, and the choice of a baritone hero was a conscious, specific one for Verdi–25 years pass between the brief prologue and the remainder of the opera and Verdi clearly wanted a dark, mature-sounding voice for his hero.
Tenor Domingo always has had a darkly hued voice and his top notes were tentative: in recent years he has been transposing roles like Otello and Don Alvaro (in Forza) down to avoid stressful high notes. But he is not a baritone; the role of Boccanegra is written about two tones lower than the center of Domingo’s voice, and for all of his (superb) musicianship and thoughtfulness, it doesn’t quite sound right. The middle of the voice should meet Verdi’s orchestration as an equal, and Domingo has to occasionally sound gruff in order to get the volume right. That having been said, his portrayal is touching and sounds beautiful, particularly in the last act; in its own way, it is yet another triumph for him in what is a very long career of triumphs.
Bass James Morris sings Fiesco, Boccanegra’s nemesis, and while the voice clearly has been around for a long time–there’s a distinct beat that intrudes–he has the majesty and emotion for the part. Soprano Adrianne Pieczonka as Amelia has an impressive voice, but she doesn’t attempt to convey any fragility at all and sings everything at the same volume; we miss the role’s many lovely, soft high notes. Marcello Giordani is a generic Gabriele Adorno, with expected, plugged-in passionate moments but fine, ringing tone. As the evil Paolo, Stephen Gaertner exhibits a grand bass-baritone and fine sneer.
The Met’s 1995 production, designed to be loyal to the opera’s time and place (Genoa, the 14th century), is presented on an imposing scale by Michael Scott (with Giancarlo del Monaco’s direction, now overseen by Peter McClintock), and brings out all of the work’s grandeur and gravitas. James Levine obviously loves this score, and he builds the opera to its tragic climax with the orchestra and chorus playing and singing gloriously. Fans of Domingo will need this, but the preferred version–for the entire cast–is under Claudio Abbado on TDK.
