Simon Boccanegra (2010) Online

This production marks Placìdo Domingo's much-anticipated descent into the baritone register. In fact, I think it is an old production of Elijah Moshinsky's. Moshinsky uses a fairly minimalist box set which does little to elucidate the bonkers plot. Without much to look at, I spent too long thinking about the plot holes and coincidences. The plot bears a superficial resemblance to Shakespeare's Pericles. Simon's infant daughter Maria is lost for 25 years before they are reunited. Apparently she has been living all this time in the home of Simone's enemy Fiesco. Fiesco is Maria's grandfather although he does not realise it. He has picked her at random from an orphanage, ignorant of their relationship. Fiesco has managed to conceal himself and grow rich in Genoa under by the simple expedient of changing the colour of his beard. Meanwhile Maria has become betrothed to Adorno, another enemy of Simon's. When Simon and Maria realise that they are father and daughter they, for some unknown reason, do not tell anyone. This confuses Adorno who thinks they are having an affair and tries to kill Simon.

Confused? You will be. In the only other production I have seen of this opera from Firenze all this nonsense was unimportant because of the wonderful display of bass and baritone singing particularly in the final act as Simon is slowly dying of poisoning. In this Covent Garden production the singing and the production were not good enough to keep my mind off the ridiculous plot. Domingo has a pleasant-sounding baritone voice but, to my mind, it lacks the oomph of a career baritone. Marina Poplavskaya trilled sweetly as Maria, tenor Joseph Calleya was an effective Adorno and bass Ferruccio Furlanetto was the best of the bunch as Fiesco.

Simon Boccanegra was basically a newfound treasure, the story is confusing sometimes that I can agree with, but the characters are plausible, the title character is quite complex come to think of it, and the music while not entirely instant classic status is wonderful particularly Orfanella In Tetto Umile and the lovely father-daughter duet that follows, Plebe Patrizi, Fiesco's big aria and the final scene.

This production is very good, however when it comes to other productions of this opera I prefer the 1984 Met, the 1995 Met and 1978 La Scala productions. The costumes and sets are fine with the ones in the prologue particularly atmospheric, and the video directing is excellent. The orchestra and conducting are spot on, and I liked the staging of the final scene and Plebe Patrizi, though I think Orfanella In Tetto Umile could have done with more benevolence.

The performances I have little problem with. Placido Domingo, singing a baritone role, is surprisingly great as Simon Boccanegra, his voice is still rather tenor-ish but it still sounds amazing and he as always does more than just singing. Jospeh Calleja(who I am not a fan of) is an effective Gabriele Adorno, and Marina Poplavskaya is a beautifully sung and decently acted Amelia. Best of all though is Ferruccio Furlanetto's excellent Fiesco.

Overall, very good. 8/10 Bethany Cox