This performance has been issue by Dynamic in association with
the Istituto Discografico Italiano in tribute to the Turkish
soprano Leyla Gencer (1924-2008). Gencer made her Italian debut
in Cavalleria Rusticana at the Arena Flagrea, Naples in
1953. She quickly established a reputation in Italy and after
performances as Mme Lidoine in Poulenc’s Dialogues des Carmelites
in 1957 the doors of La Scala opened wide to her. She sang seventeen
roles in that theatre from her extensive repertoire of seventy-two.
With the major record companies already having contracted their
artists, Gencer, like many other considerable singers during that
period, did not get studio recording opportunities; this despite
her manifest strengths. However, she is known as the ‘Queen of
the Pirates’ for the number of her live performances to appear
on record, particularly in the bel canto repertoire. She
made a significant contribution to the renaissance of this genre
well before studio recordings were made by contracted singers
such as Callas, Caballé and Sutherland.
Verdi might well
have empathised with Gencer about neglect in respect of his
twenty-first opera, Simon Boccanegra. His first
version was written for a commission from the Teatro la Fenice
in Venice for the 1856-57 season. The subject was ideal for
Verdi, involving both a parent-child relationship and revolutionary
politics. The political aspect caused the local censor to
give the composer and Piave, his librettist, a hard time despite
the action being set in 14th century Genoa. The
gloomy subject matter allied to Piave’s rather rambling libretto
did not help audiences. At its premiere on 12 March 1857 Boccanegra
was, in Verdi’s own words, ‘a greater fiasco than La Traviata’,
which had also been written for La Fenice. The critics
of the time wrote about the lack of easily remembered arias
and melodies. That the plot included a twenty-year gap between
prologue and the resumption of the plot also could not have
helped. A production at Naples went better but that at La
Scala in 1859 it was a bigger fiasco than the one in Venice.
The composer had moved his musical idiom too far for his audiences.
Verdi recognised this when he wrote ‘The music of Boccanegra
is of a kind that does not make its effect immediately. It
is very elaborate, written with the most exquisite craftsmanship
and needs to be studied in all its details.’.
Verdi was his
own sternest critic but his regard for this composition meant
that although the work fell into neglect, the possibility
of revision and revival remained in his mind. In 1879 he had
written nothing substantial since his Requiem in 1874
and no opera since Aida five years before that. His
publisher, Ricordi, raised the subject of a re-write of Boccanegra.
Although in private he was seriously considering Boito’s proposals
for an opera based on Shakespeare’s Otello, in public
he gave the impression that he had hung up his pen. When Ricordi
told Verdi that Boito, who was providing him with synopses
and other suggestions for Otello, would himself revise
Piave’s libretto, the composer agreed to undertake the task.
The Otello project, a close secret and code-named ‘Chocolate’,
was put on hold, but not forgotten. The revised Simon Boccanegra
was a triumph at La Scala on 24 March 1881. It is in this
later form that we know the opera today and that’s the version
featured on this recording.
The story of Simon
Boccanegra concerns the political conflict between the Plebeian
faction and the Patricians of Genoa lead by Fiesco. Fiesco’s
daughter Maria has loved the eponymous corsair and borne him
a daughter. Simon wishes to make peace with Fiesco and marry
Maria. Paolo Albiani and Pietro, members of the Plebeian faction,
propose to nominate Simon for Doge. He refuses until persuaded
with the thought that if he were Doge, Fiesco would be unable
to thwart him. But it is too late: Maria has died and her
daughter, in Simon’s care, has disappeared. Twenty years go
by and the missing daughter is discovered as the ward of Fiesco,
their relationship known to neither of them. Simon discovers
the fact that Amelia is his daughter Maria. This happens after
earlier promising her hand to Paolo as reward for helping
him to power. His reversal of that decision sets the scene
for her later abduction by Paolo.
As Doge, Simon
tries to placate the parties in the new scene that Boito added
(CD 1 trs. 20-23 and CD 2 tr.1). This takes place in the Council
Chamber and is one of the mature Verdi’s most dramatic musical
creations. Its music is very clearly a near relative of that
in Otello. Its drama contrasts sharply with the first
scene with its quiet E major chords. These are so evocative
of the sea and flowing tides (CD 1 trs.1-2). The scene which
precedes Amelia’s Come in quest’ora bruna (CD 1 trs.9-10)
also offers contrast. These reflect Verdi’s intimate knowledge
of a town where he and his wife spent most winters and owned
an apartment. As well as the addition of the Council Chamber
scene there are many other differences between the 1881 revision
and the 1857 original. These make comparison captivating for
Verdi enthusiasts. A recording of the original 1857 version
is available from Opera Rara.
Leyla Gencer’s
singing of her act one Come in queat’ora bruna (CD
1 tr.10) is a powerful example of her vocal prowess: Amelia
sings of the beauty of the scene as she awaits her lover Gabriele
Adorno. Smooth legato, perfect pitch and diction are allied
with full tone and expression. These qualities and her capacity
for expression and characterisation are also put to use in
the more dramatic scenes as Amelia appears in the Council
Chamber after her abduction (CD 1 tr.22). They are on display
again later when she has to convince Adorno that her love
of the Doge is pure whilst not being able to reveal their
true relationship (CD 2 trs.6-9). Similarly Gencer expresses
the joy of the earlier discovery of her character’s father
with delicate phrases and expressive singing. Hers is a formidable
interpretation to stand alongside that of De Los Angeles’s
contemporaneous Rome studio recording, which has the benefit
of stereo (EMI CMS 7 635513 2). It is also unblushingly in
the company of Mirella Freni for Abbado on the outstanding
La Scala recording made after the Strehler stage performances
(DG Originals).
Tito Gobbi as
the Doge is outstanding. His live performance here has that
extra frisson even over his memorable interpretation on HMV.
Certainly his expressive singing in the recognition duet of
act one concludes with a purer mezza voce Figlia (CD
1 tr.19). His vocal dominance in the Council Chamber scene,
particularly in his biting Plebi! Patrizi! Popolo (CD
1 tr.23) is formidable. It contrasts with his vocal tone and
characterisation as the Doge agonises over the love of his
daughter for his enemy (CD 2 tr.8) and later, as he dies,
blesses them (CD 2 tr.18). Whilst on the EMI recording, Gobbi’s
portrayal of the Doge is matched by Christoff’s formidable
Fiesco it is less the case with Ferruccio Mazzoli. He does
not have the Bulgarian’s capacity to put weight on the voice
without thickening the tone. Nonetheless he does not let the
side down and his Il lacerato spirito (CD 1 tr.4) is
justifiably applauded. As Adorno, Mirto Picchi sings with
strong open-throated and expressive tone allied to Italianate
squilla (CD 2 trs.4-5). He is another of the singers
around in Italy at the time who were neglected by the mainstream
labels.
The sound in the
Prologue is rather recessed with the orchestra coming off
worst. From act one onwards the engineers seem to have got
their act together and the recording balance and clarity is
much better although the string tone is thin at times. The
better balance allows a better appreciation of Mario Rossi’s
well-paced and strongly idiomatic contribution to the proceedings.
The applause, whilst regular, is not too prolonged or intrusive.
The accompanying
leaflet gives no indication as to the provenance of the recording
- if it was for a radio broadcast, for instance. It includes
a biographical essay about Leyla Gencer, in Italian and English.
The track listings should have denoted the start of the Council
Chamber scene (CD 1 tr.20).
Robert J Farr