Review: Melodrama And Marvellous Music Unfold In SIMON BOCCANEGRA

Tuesday 26th July 2016, 7:30pm, Joan Sutherland Theatre, Sydney Opera House

Opera Australia's interpretation of Giuseppe Verdi's tale of love, jealousy, politics and altered identities, SIMON BOCCONEGRA returns to the Sydney Opera House. A rousing score combines with the a good degree of over-dramatization as Moffatt Oxenbould(Original Director) opts to view this as a 19th Century re-enactment of a story from a seaside city's past, giving a good representation of where the term "Soap Opera" originated.

The revival directed by Matthew Barclay and conducted by Renato Palumbo, captures Verdi's beautifully expressive music as the set is kept relatively simple. In keeping with the vision that the story be a retelling of an 'old town' story, Peter England (Set Designer), has created the ruins of an expansive central hall of a seaside villa, only 'decorated' by a series of large wooden sea-chests that serve the purpose of holding costumes and doubling as makeshift furniture. Costume Designer Russell Cohen's opulent velvet coats, donned to replicate the division between the patricians and the plebeians stand out against the expansive stone hall whilst Amelia's cream gown reinforces the young woman's innocence.

The premise of the story, set against a textured score filled with forboding and suspense, is that members of an Italian maritime community have joined in the ruins of a once opulent coastal villa to recount an old story of Naval hero Simon Boccanegra. The retelling focuses on a hatred that starts between Jacopo Fiesco (Giacomo Prestia) and Boccanegra as Fiesco's daughter Maria dies not long after she gives birth to Boccanegra's child which in turn goes missing. At the same time, Leader of the Plebeians, Paolo Albiani (Warwick Fyfe), wants to install Boccanegra as the Doge (the chief magistrate of Genoa) in order to gain wealth and power. Skip to 25 years later and Fiesco is now staying in The Shadows under the assumed name of Andrea. He is one of the Patricians helping raise orphan Amelia Grimaldi (Natalie Aroyan) who has fallen in love with Gabriele Adorno (Diego Torre). Greed and jealousy lead to murder plots as truths are uncovered in a plot that puts daytime television to shame.

Whilst the souvenir program lists an imported artist in the role of Amelia, opening night saw a change to the wonderful Australian Soprano Natalie Aroyan. Aroyan is also listed on the Opera Australia website so it seems the swap is permanent and it is a treat to get to hear the local in the lead role. Aroyan gives Amelia a passionate sustained strength as she strives for peace between the Patricians and Plebeians, in particular saving Boccanegra from Adorno's blade twice. She has a beautiful ringing purity to match the innocence of the orphan girl who turns out to be Boccanegra's daughter, and therefore Fiesco's granddaughter. She exudes sensitivity and also a strength to show love, hope, sadness and compassion, and also stand up to the fighting men. For what can assumed to be a late change in casting, sometime after the programs were printed, Aroyan is stunning and the only give away to the change is the program and the announcement at the commencement of the performance.

Diego Torre, as Amelia's lover Adorno, creates a fabulous contrast as a hot headed character, ready to jump to conclusions in comparison to Amelia's peaceful nature. Torre captures the melodrama of the story with a more deliberate expression from fighting that breaks up the meeting of Councillors to the assumptions he makes about Amelia and Boccanegra's relationship.

Warwick Fyfe as the greedy, scheming Paolo presents the role with enough nastiness but stopping just short of turning him into a pantomime villain. He counters this confidence with nervousness when he thinks his plans are being thwarted and his baritone vocals balance the insecurity, incredulity and disappointment with an evil undertone. Paolo is assisted in his plots by Pietro, Adrian Tamburini who is a more subdued character that sits in Paolo's shadow.

Romanian Baritone George Petean gives the role of Simon Boccanegra a gravitas as the former mariner come magistrate. Petean's duet with Aroyan where her identity is revealed showcases the two powerhouse voices in the big, bold song that has joyous warmth and a textured expression of emotion.

Italian Giacomo Prestia's Bass gives the embittered Fiesco a maturity and immovability of the old man harbouring a hate and hiding his identity. Kept to the sidelines of the fight in the Council, the rumbling deep voice is heard whilst Fiesco tries to go unnoticed with his back to the crowd and hood pulled low.

Whilst some operas are filled with light, sweet music that relies on the text to tell the story, Verdi choose to paint a picture with his music. He punctuates the text with music to heighten the mood so even if you don't understand Italian or follow the English surtitles, the ominous tones create mystery, the reaching into silence creates suspense and short flute responses to "I'm Weeping" convey the sobbing grief.

Bold voices and wonderful performances, SIMON BOCCANEGRA is a beautiful interpretation that will delight regulars and surprise newcomers to Opera.

SIMON BOCCANEGRA

Joan Sutherland Theatre

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