SEEN AND HEARD INTERNATIONAL

SEEN AND HEARD INTERNATIONAL OPERA REVIEW
 

Verdi, Simon Boccanegra: Soloists, Orquesta Sinfonica de Madrid. Coro Intermezzo. Conductor: Jesús López Cobos. Teatro Real de Madrid. 28.7.2010. (JMI)

Production Teatro Real.
Director: Giancarlo del Monaco.
Sets and Costumes: Michael Scott.
Lighting: Wolfgang Von Zoubek.

Cast:
Simon Boccanegra: Plácido Domingo.

Amelia Grimaldi: Inva Mula.

Jacopo Fiesco: Ferruccio Furlanetto.

Gabriele Adorno: Marcello Giordani.

Paolo Albiani: Ángel Ódena.

Pietro: Miguel Ángel Zapater.

Production Picture © Javier del Real

This was the last performance of Simon Boccanegra with Plácido Domingo in the title role. At the same time, it was virtually the last performance at the Teatro Real under the artistic direction by Antonio Moral, and it came just after the huge media coverage of the al fresco performance of last Sunday that broke the record for applause in the house. There are two expressions quite common in sport, referring to mountains and to records. Mountains exist to be conquered and records are there to be broken. And so it was.

Plácido Domingo seems sometimes more like a character from fiction than a real person, rather like a kind of Superman. He clearly does exist but his achievements are so numerous and varied that it’s often seems as though he has come from a different planet and that his extraordinary activity can be only expected from an extraterrestrial being. The feeling that he is a unique and truly exceptional person has finally been accepted by both opera lovers and the public in general and at 69 years old Superman Domingo can only generate more admiration for his apparently inexhaustible energy. His latest exploit, deciding to take on one of the most important Verdi baritones roles, seems both bizarre and incredible, particularly after having successfully overcome some very serious surgery. If any other tenor of first-rank stature had done this when coming up for 70, the feat would have seemed totally foolhardy, but then, this is Superman we’re talking about here after all.

What the audience at the Teatro Real might not have known was that in between performances of Simon Boccanegra, Superman was flying - though probably slower than a speeding bullet – back and forth between Spain and Italy to rehearse his latest challenge as Rigoletto with Zubin Mehta. Even so, the public in Madrid decided to offer an unprecedented tribute to him by demonstrating their enthusiasm at the Teatro Real - which was almost at risk of collapse under the storm of cheering – for no less than 31 minutes. As I said, records exist to be broken.

So was his performance extraordinary enough to justify such an uproar? The question is actually meaningless since the tribute was clearly not based on this appearance alone, but on something much broader and important. I had the opportunity to see him in this same role at the beginning of July in London and his performances were wholly praiseworthy on each occasion. In London though, he was received as a great singer/actor but in Madrid, he had become an icon. As in London, he offered a wonderful interpretation of the Doge of Genoa, with a rare intensity, great singing and without ever trying to emulate the baritone that he is not, but always remaining completely himself. Because of his fairly obvious extraterrestrial origins and his ability to spend his life flying, Superman Domingo is a prodigy of intelligence who knows perfectly well what he can do with his voice.

The Madrid ovation clearly showed Domingo that he is a much loved as well as admired. This was self-evident to anyone among the crowd and Domingo realized it too, being more than moved himself. But he also showed exceptional comradeship to all of his colleagues as he steadfastly refused to take solo bows, always insisting that the other artists, including the chorus and orchestra should share the stage with him. He also attempted again and again to get Antonio Moral on stage to share in the cheering but the Teatro Real’s soon to leave Artistic Director, just as gracefully, gently refused.

In spite of all pre-existing nervousness about whether or not Domingo would follow Giancarlo de Monaco’s stage directions – with which he was widely rumoured to be uncomfortable, the superstar changed only one small aspect of his performance. In the second part of the Council scene, he came down from the throne rather than than remaining seated on it, which had a bigger dramatic impact but was less good aesthetically.

Jesús López Cobos offered an excellent reading, even better that at the premiere and this was one of his best performances ever at the Teatro Real. Domingo’s performances as Boccanegra were announced with the presence of Romanian diva Angela Gheorghiu singing Amelia Grimaldi, but Ms. Gheorghiu sang only the first of them, being replaced in the other two by the excellent Inva Mula. She was even better than at the premiere, apart from some small shortcomings at the lower end of her range and nobody missed Ms. Gheorghiu.

Marcello Giordani was a more dramatic Gabriele Adorno than is usual in the role, which was much of the taste of many aficionados. His middle voice does not have quite the beauty of Sartori’s, the other singer listed for the part, but it is more powerful and his top notes are glorious. Ferruccio Furlanetto repeated his Fiesco, a character with which he is always more than convincing. Angel Ódena was an outstanding Paolo Albiani, offering a beautiful voice very well suited to the demands of this difficult character. This was one of the best performances I can remember from him.

The Teatro Real was completely sold out naturally. Superman was received with a literal standing ovation which never seemed to stop. All the artists were cheered, but no one had any doubt regarding the true aim of the general enthusiasm. The final ovation lasted 31 minutes, as I’ve already said - that’s as long as the whole of Simon Boccanegra’s Prologue.

José M Irurzun

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