PLACIDO DOMINGO AND JAMES CONLON JOIN FORCES FOR A VERDI MASTERPIECE
The unrivaled Plácido Domingo fulfilled a lifelong dream when he first performed the baritone title role in Simon Boccanegra.
Now he brings his celebrated interpretation of one of opera¹s most complex characters to his home company. He will be joined by conductor James Conlon, internationally recognized as a master of Verdi, and a stellar cast.
Simon Boccanegra is a grand-scale study of power and treachery that finds an emotional center in the tender and unbreakable bond between father and daughter. Verdi's poignant score brings his characters to vivid life in a series of striking encounters that spans two generations.
PARENTAL GUIDE:
This is a story about political power and treachery and a man trying to connect with his adult illegitimate daughter. Parental discretion is advised. Half-price tickets are available to students ages 9-17 and we have special programs/operas for younger children. Please read the synopsis for further details. If you have any questions, call us at 213.972.8001.
NOTES
Company Premiere
Production from the Royal Opera House, Covent Garden
Approximately three hours, including one intermission.
Evening performances: 7:30-10:30 p.m. (approximately)
Matinee performances: 2:00-5:00 p.m. (approximately)
Paolo Albiani, leader of the plebeian party, is deep in discussion with another plebeian, Pietro, about the upcoming election of a Doge. Both men hope to overpower the ruling patricians by nominating a plebeian candidate. Paolo proposes Simon Boccanegra, who has recently become a hero for his routing of African pirates from Genoa. Pietro promises to use his influence to ensure the popular vote for Boccanegra.
Boccanegra at first refuses Paolo's proposal. He agrees, however, when he considers that as Doge, he would be able to marry his beloved Maria. Her patrician father, Jacopo Fiesco, forbids their union, even though Maria has already borne Simon an illegitimate daughter.
When the square is empty, Fiesco comes out of his palace, grieving at the unexpected death of Maria. He vows to avenge himself against Simon, whom he blames for his daughter's death. Simon returns, unaware of the recent tragedy, and begs Fiesco to put an end to their mutual hatred. Fiesco replies that he can do so only if he can take custody of Maria's child. Simon explains that he cannot comply. The infant girl had been placed under the care of a nurse in Pisa. When Simon last visited there, the old woman had died and the child had vanished. Fiesco then states that there can be no peace between the two men.
Simon is horrified to discover that his beloved Maria is dead. A moment later, the people return to the square, triumphantly acclaiming him as Doge.
Act I, Scene 1
The garden of the Grimaldi palace outside Genoa, 25 years later
Simon's daughter knows next to nothing of her true parentage. Although she knows her real name is Maria, she has grown up under the name Amelia Grimaldi and lives under the protection of Fiesco, who has taken the name Andrea. (The Grimaldi family, exiled due to political intrigues, would have lost all their wealth if it had been discovered that their real daughter had died. Therefore, they adopted the orphaned Maria Boccanegra and passed her off as their own daughter Amelia, thus enabling the family fortune to remain in the possession of the one "Grimaldi" left in Genoa.)
Amelia has fallen in love with a young Genoese gentleman, Gabriele Adorno. The two hope to marry and have obtained Fiesco's approval; however, the Doge (Simon) has expressed an interest in marrying the young woman to one of his courtiers, Paolo Albiani.
The Doge arrives with the news that he has pardoned the exiled Grimaldis. Moved by the Doge's concern, she rewards him with her confidence. She explains that she is deeply in love, but not with Paolo, whom she accuses of lusting only after the Grimaldi fortune. She also reveals that she was not born a Grimaldi and tells the Doge what little she can recall of her earliest childhood. Deeply moved, Simon realizes that Amelia is his own daughter. Father and child are reunited at last.
When the Doge informs Paolo that he no longer consents to Paolo's wedding plans, Paolo and Pietro plot to abduct the woman that evening and have her taken to the home of an ally, Lorenzino.
Act I, Scene 2
The Council Chamber
The Doge presides over a meeting with councillors from the patricians and plebeians. As they debate whether to accept a plea for peace with Venice, a riot is heard outside. The Doge calmly orders that the doors be thrown open to the crowd. The mob enters, dragging Gabriele and Fiesco in as their prisoners. Gabriele explains that he has killed Lorenzino, who had held the kidnapped Amelia prisoner in his home. Lorenzino died after revealing that a powerful politician had ordered the kidnapping-Gabriele assumes that the Doge is responsible and raises his sword against Simon.
Amelia now arrives and throws herself between the Doge and Gabriele. She describes her kidnapping and her escape. Lorenzino had freed her when she threatened to reveal his crime to the Doge. She tells the assembly that there is another culprit present who is even guiltier.
Before she can reveal Paolo's name, another disturbance erupts as the patricians and plebeians accuse each other of harboring a criminal. The Doge is forced once more to restore order, and begs the two factions to get along peacefully. Gabriele realizes that Simon is not responsible for the kidnapping; he surrenders his sword. The Doge requests that Gabriele and Fiesco remain in custody until the plot has been fully revealed. Still believing Paolo to be his close ally, Simon orders him to curse Amelia's abductor. The curse is repeated by all assembled, to Paolo's great horror.
Act II
Simon's quarters in the Doge's palace
Paolo and Pietro steal in under cover of night. Pietro goes off to free Gabriele and Fiesco from prison. Meanwhile, furious at his treatment at the hands of the man he himself brought to power, Paolo pours poison into Simon's goblet. To further ensure the death of the Doge, he also plans to have an armed assassin installed in the room.
Fiesco affirms that he has organized a Guelph uprising; however, he flatly rejects Paolo's request that he kill the Doge. Gabriele also refuses Paolo's dagger at first, but Paolo informs the young man's rage with the news that Amelia is now residing in Simon's rooms-unaware that he is her father the men assume that the Doge is planning to seduce the woman both hope to marry.
Left alone in the room, Gabriele blames Simon for two crimes: the seduction of Amelia and the death of Gabriele's father, who was affiliated with the Doge's enemies, the Guelphs.
Amelia enters, and Gabriele takes her presence as further evidence that the Doge has stolen his bride. Amelia reveals that she and Simon love each other, but she stops short of explaining the real nature of their relationship. Gabriele hides when the Doge enters. Simon asks Amelia the name of her sweetheart. Startled to find out that his daughter is in love an Adorno, he agrees to pardon Gabriele only if the young man will renounce his association with the Guelphs.
Alone, Simon drinks from the poisoned goblet and falls into a deep sleep. Gabriele advances upon him with a dagger, stopping only when Amelia returns and throws herself between the two men. Gabriele soon discovers that Simon is Amelia's father and begs forgiveness for his misguided attempt on the Doge's life. The Guelph rebellion is heard outside the palace; Gabriele now refuses to fight against the Doge any longer. He agrees to deliver a message of peace from the Doge to the Guelphs; should the offer be refused, Gabriele will join Simon in battle. The Doge promises to reward the young man with Amelia's hand in marriage.
Act III
The Doge's palace
The Guelphs have been defeated in battle. Fiesco has been freed, but Paolo has been condemned to die. With nothing more to fear, he tells Fiesco that he has poisoned the Doge; guards drag him away to the scaffold.
Simon enters, beginning to feel the effects of the poison. Fiesco is grimly satisfied to encounter his old enemy once again. The Doge, however, is relieved that he can at long last heal the rift between them. Long ago, Fiesco had promised to pardon Simon if he relinquished the child of Simon and Maria; Simon now reveals that Amelia Grimaldi is that child.
Amelia and Gabriele, newly married, now enter. Amelia is overjoyed at the revelation that Fiesco is her grandfather. Her joy is short lived, however, for Simon reveals that he is dying. Appointing Gabriele as his successor, the Doge dies in his daughter's embrace.
The Company Premiere of Simon Boccanegra on Saturday, February 11 was one spectacular night of opera in Los Angeles! Placido Domingo, Ana Maria Martinez, Vitalij Kowaljow, Stefano Secco, Paolo Gavanelli and Robert Pomakov all gave brilliant, inspired performances. And everything was perfect... from the orchestra, to the singers, to the crowd response. But don't take our word for it... the reviews speak for themselves...
"Placido Domingo was a commanding vocal and dramatic presence… it takes someone with the stature of Domingo to bring [the role of Simon Boccanegra] to the stage."
"Ana Maria MartÃnez looked ravishing and sang with a slender, silvery soprano, negotiating the trills in the pleas for peace with confidence."
"James Conlon...emphasized the transparency, grace and lyricism in the score, as well as Verdi’s unique virile energy."
-Chris Pasles, LA Times.
"James Conlon navigates smoothly between Verdi’s outbursts of passion and his delicate impressionism, most beautifully rendered by Ana Maria Martinez, who easily dominates the big ensembles and displays a genuine trill."
-Robert Hofler, Variety
"This is musically, and more importantly dramatically, compelling Verdi with more than just a pulse, but a raging earnest heartbeat that can be heard and felt at great distances."
-Brian Holt, Out West Arts
"Martinez brought a secure, yet youthful lyric soprano sound (with a beautifully executed trill) to the role of Maria Amelia."
"Vitalij Kowaljow's voice "seems tailored for the Verdian bass roles."
"One of the supreme contemporary voices in the tradition of the great Italian baritones is possessed by Paolo Gavanelli."
"No opera aficionado who has the ability to secure tickets for any performance of this production at the Los Angeles Opera should fail to take the opportunity to do so."
-Opera Warhorses
With James Conlon
Designed to enhance your experience of the opera. Begins one hour prior to each performance in the Grand Hall.
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Pre-performance lectures are generously sponsored by the Flora L. Thornton Foundation and the Opera League of Los Angeles.
2011/12 Season Podcast #43 – Simon Boccanegra
LA Opera: January 26, 2012
Music Director James Conlon reflects on three decades of collaborating with Plácido Domingo, why Boccanegra may be the greatest of Verdi’s mighty baritone roles, and the recurring theme of reconciliation that makes Simon Boccanegra so emotionally powerful.
With James Conlon
Verdi
