Director PJ Harris’ dramatic concert staging of Verdi’s 1881 version of Simon Boccanegra for Opera North is an absolute joy, a true sensory delight for the ear and eye.
A Prologue establishes that Boccanegra (Roland Wood), a plebeian, is about to become the first elected Doge of Genoa. But he loves – and has secretly had a child with – Maria, the daughter of his political rival and sworn enemy, Jacopo Fiesco (Vazgen Gazaryan), a patrician. When Maria dies, the baby disappears.
Fast forward 25 years and Fiasco is in hiding under the alias Andrea Grimaldi and plotting his revenge against Boccanegra who is still in power. He has become guardian to an orphan girl named Amelia (Sara Cortolezzis) who it later transpires is his missing granddaughter. She wants to marry Gabriele Adorno (Andrés Presno), who is also in opposition to the Doge.
When Boccanegra discovers that Amelia is his long-lost daughter he sees the opportunity to reconcile opposing sides but for Paulo Albani (Mandla Mndebele), the councillor who put him into power all those years ago, this is a step too far and with the aid of Pietro (Richard Mosley-Evans), sets out to kidnap Amelia and turn events against Boccanegra.
Containing some of Verdi’s most powerful music and full of the duets at which he excelled, there is surely no better time to perform this opera than the recent selection of a new Pope; local elections which have highlighted the divide in British society; and the 80th anniversary of VE Day which, amidst current international conflicts, reminds us of the futility of war.
Designer Anna Reid cleverly creates a three-part structure at the front of the stage, inspired by the corridors and chambers of town halls and local government, which become different spaces within the story as it unfolds with the cast fully costumed with rosettes and sashes to reflect their political affiliations and division.
The concert staging places the orchestra at the heart of the action and it is a delight to watch Maestro Antony Hermus in action as he links the intensely dramatic scenes into a satisfying unifying whole, accompanied by an inspired use of space as vocal entrances occur from all quarters including a powerfully proficient chorus entering through the stalls, ensuring that we, the audience, are as much part of the baying mob as we are spectators of the accomplished performance on stage,
In an opera full of contrasts, the principals work well together and in expressing their own inner turmoil. Wood excels as Boccanegra with a beautifully balanced performance that captures the human emotion at the heart of a conflicted character, whilst Cortolezzis’ Amelia serves up moments of sweetness and light in reflection of her father, her later stronger vocal show that she has also inherited his steel and guile.
Gazaryan’s rounded performance provides a deep and dark vocal as Fiesco in his pursuit of power before the reveal of Amelia’s true identity also shows a more human side to his character, whilst Presno’s Adorno serves up a passionate Italian, ready and primed to go off in the midday sun.
Mndebele, in a lighter tone, offers a very believable Machiavellian Albiani, manipulating all around him with sterling support from Mosley-Evans as his sidekick, whilst Laura Kelly as Amelia’s maid and Ivan Sharpe as a captain – both members of the Chorus of Opera North – help keep the action moving along.
There is a line from the opera’s libretto set across the top of structure at the front of the stage quoting the poet Petrarch: ‘I’ vo gridando: pace, pace, pace’ — I cry for peace. At the end the audience were crying for more: bravo!
Simon Boccanegra continues on tour with full details at https://www.operanorth.co.uk/whats-on/simon-boccanegra/
Reviewer: Mark Davoren
Reviewed: 11th May 2025
North West End UK Rating: