Concert performances of operas, most notably Wagner and Verdi, have been major highlights of Sir Mark Elder’s tenure at The Hallé. The choice of Simon Boccanegra as his final opera as Musical Director – and in the original 1857 'fiasco' version at that – was at first glance a curious one, when one might have expected more of a box office crowd-puller. Entirely unsurprisingly, though, this superb performance joins the esteemed ranks of some memorable evenings over the years.
With no costumes, minimal acting and just some subtle lighting variations reflected in the organ, the music itself was at the forefront of attention here. Alongside typical musical excellence, though, key to the success of this performance was the remarkable use of the Bridgewater Hall space. Every aspect of the stage and choir area was used: the large banda played from the central choir stalls with blazing ebullience, the bells pealed from the lateral choir seats with offstage harp adjacent, and the chorus were prominently placed behind the first violins on the platform. This made for an immersive experience, drawing the audience into the famously convoluted story while highlighting the excellence of the Chorus of Opera North and Royal Northern College of Music Opera Chorus.
Leading an unwaveringly strong cast was Argentinian baritone Germán Enrique Alcántara in the title role. He traced a remarkable character development through the evening, from rapturous reunion with long-lost daughter Amelia in Act 1, culminating in an exquisitely tender blessing of her wedding from his deathbed. Eri Nakamura’s Amelia was elegantly sung with fine control throughout her range, her sound light and suitably fragile amid the tribulations of Act 1. Her chemistry with Gabriele (Iván Ayón-Rivas) was convincing, the latter singing with ardent fervour as the tormented and manipulated romantic in Act 2.
Of the remaining cast, William Thomas’ rich tone was superbly imposing as Fiesco and latterly conciliatory as Andrea. Even if his was comfortably the least-acted role, his scheming with Paolo (Sergio Vitale) was well realised. The most stirring moments of the evening, though, were the tumultuous set pieces involving massed chorus and all available orchestral forces. The huge choral sound at the finale of Act 1 was a spectacular highlight.
There was much to appreciate in the orchestral playing too. Despite being relatively compacted into the left of the stage, with horns tucked in beside heavy brass, the orchestral sound filled the auditorium while accompanying sensitively. The prelude was crisply punched out, and the woodwinds played with as much character as any vocal soloist. Elder, for his part, paced the drama to perfection, dismissing with apparent ease any reservations about the validity of this early version of the opera. This week’s studio recording from the same forces should be well worth looking out for on Opera Rara.
