Customer Reviews

Verdi - Simon Boccanegra / Freni, Cappuccilli, Carreras, Ghiaurov, van Dam, Foiani, Teatro alla Scala, Abbado

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This recording is without a doubt DG's crowning achievement in their long association with La Scala. Are there relly any weaknesses? Cappuccilli has been rightly criticized for his lack of vocal coloring, but few baritones have understood Verdi as well as he, and he shows himself to be a master of the text. Freni is superb as Amelia, Ghiaurov and Van Dam wonderful as Fiesco and Paolo, and even Fioani shines in the character role of Pietro. Anyone who hasn't heard Carreras before his illness in the late 80's should listen to this to see what all the fuss was about...here he is in his his absolute prime:golden voiced, full of youth and ardor with a ringing top. All this led by the great Abaddo in glorious sound! This is surely one of the greatest and most consistant Verdi recordings to date!

Ask ardent Verdi fans to name their five favorite Verdi operas, it is likely that SIMON BOCCANEGRA will be on the list. This opera contains some of Verdi's most beautiful music which is able to convey the drama of this great work. Sadly, the work is somewhat unknown. There are no show stopping arias, well known choruses, and the duets rarely are recorded or performed outside of the opera itself. The work was a failure at its premiere, and was later revised by Verdi and the great librettist/composer Arrigo Boito. The revival was somewhat successful, but the opera did not endear itself to audiences. Unfortunately, the opera is not performed as often as it probably deserves, except at major opera houses such as The Metropolitan Opera in New York where it is staged on occasion.

The plot of the opera is grand in scope, and there are some empty spots in the libretto which does not help the work. The story contains political intrigue in fourteenth century Genoa, conflicts in love, and tangled familial relationships. While the plot may be complicated (though not convoluted as is the case of so many operas), the characters are perhaps the most compelling in all of Verdi's opera. The title character is powerful, yet flawed, and his tenderness is evident when he discovers that he has a long lost daughter Amelia. Fiesco, Boccanegra's sometimes enemy has the kindness and wisdom that come with age, though he likewise has his flaws. Gabriele, Amelia's love interest and Boccanegra's young political rival, is young and impetuous, but has personal insight which keeps him from becoming a tragic hero. Some would argue that the Verdi, who is known for his portrayal of fathers, is at his best with Boccanegra when he discovers his daughter Amelia.

Unlike Verdi's better known operas, there is not a plethora of studio recordings of this work, but this recording under the direction of Claudio Abbado sets a high standard that would be difficult to emulate, speak less of surpassing. Each principal performer; Piero Cappuccilli as Boccanegra, Mirella Freni as Amelia, Nicolai Ghiuarov as Fiesco, Jose Carreras as Gabriele, and Jose van Dam as Paulo are in their vocal prime and are able to create the dramatic intensity through their voices that make this opera a masterpiece. The opera was recorded in conjunction with a mid-1970's production at Teatro alla Scala in Milan which gives this recording the benefit of the authenticity of a live performance and the perfection of a studio recording.

I may never see this opera performed on stage, but when I listen to this recording, I am transported to an opera house due to the dramatic power and sheer energy of this recording. Since its re-release, it is now a mid-priced recording, which makes it even more of a bargain.

This is a recording any lover of Verdi or of all-around opera must have. After the 1881 revisions, this opera ranks among the best of Verdi's mature works, and contains some of his greatest ensembles. Claudio Abbado's interpretation is superlative, combining high drama with great beauty. His tempi are chosen perfectly, and he shapes the music in a way that only the best Verdi conductors can do. Cappuccilli is an outstanding Doge, with a brilliant range of tone and fantastic majesty in the Council Chamber Scene - indeed, he portrays Simon's emotions at every point in the opera with perfect clarity and dramatic creativity - and this is added to a beautiful, golden baritone voice. Mirella Freni is a touching Amelia/Maria, bringing out the emotions of this character vividly. José Carreras is terrific as Gabriele, Nicolai Ghiaurov is a perfect Fiesco, and José van Dam is a chillingly sinister Paolo. Masterful chorus work and superb playing from the La Scala forces. (I think I'm going to run out of adjectives soon!) The packaging is attractive and the sound is brilliantly clear. In addition, this set is at mid-price, making it highly affordable. If you have this, great! If you don't ... get it! Now!

Bravo! Bravo! Bravo!
This word sums up everything that can be said for this recording. Here we have one of the best (the other in my opinion Santini's with Gobbi) recordings of this neglected Verdi's masterpiece.
It is true that "Simon" is one of the most underrated Verdi operas and there are many reasons. The tenor and soprano parts are not enormous and there are many baritones and basses in the first roles. It is true that this is (as it has been called) an opera for the low voices. But oh boy! What music! When you hear it you absolutely love it. Maybe the plot is too confusing and sometimes it bores the listener but the music compensates at every bit.
In this recording we have in the title role Pierro Cappuccilli, a baritone not quite famous for his acting skills but with a majestic voice. Here he acts too. Maybe due to Abbado's training. He gives shades to his voice and we can hear his anger, pity, compassion, remorse! Just listen to his performance of the last act and you will get the meaning. Many have said (and I agree) that this is his finest performance on disc. (Another great,and maybe surpassing Cappuccilli on some acting aspects, is Tito Gobbi's).
Cappuccilli is accompanied here by many truly great singers. Mirella Freni and Jose Carreras give riveting performances and their voices blend very very well together. Ghiaurov as always is magnificent and his huge bass voice captivates the ear from the beginning (as does Boris Christoff on the Santini set) and the rest (most notably Jose van Dam and Foiani) give very good performances.
Abbado (as in every Verdi recording he conducts) is in his territory. Correct tempi and very nice conducting.
All in all, a wonderful recording of a neglected opera and a must for every Verdi fan!!

Genoa has been in the news a lot, lately. I was there as a travelling student, once, many years ago. Soon after, I discovered this amazing recording of "Simon Boccanegra." Some Verdi operas blow it on local color; except for O Tu, Palermo," for instance, there is nothing in "I Vespri Sicilani" that screams "Sicily." Yet "Simon Boccanegra" is drenched in the air, sea and cityscape of Genoa. It is a deep, heartfelt opera. "Verdi for adults," someone called it long ago. This is not only the best "Simon" ever recorded..it is arguably the best Verdi recording ever. Carerras and Freni as the young lovers, Cappuccilli as Boccanegra, Ghiaurov as Fiesco, Van Dam as Paolo. I believe this recording got a rose in the Penguin Guide, and deeply deserves it.

Claudio Abbado's reign at La Scala produced some of the finest productions of Verdi's operas ever mounted on the stage. From that prolific era came his dark and revolutionary Macbeth (Verrett, Cappuccilli, Tagliavini), the greatest Don Carlo (Freni, Carreras, Cappucilli, Ghiaurov, Obraztsova), the most powerful Aidas (Arroyo, Domingo, Cossotto, Cappuccilli), and this outstanding Simon Boccanegra. Although I regard Don Carlo as one of Verdi's greatest achievements, I think this Boccanegra is the crown jewel in Abbado's extensive discography of great performances. He led a fascinating team of soloists with the La Scala orchestra and the great Italian opera producer Giorgio Strehler in what was the greatest stage production of Simon Boccanegra in operatic history. I don't think even Giancarlo del Monaco's dark, elegant sets combat this magnificent production in terms of symbolic lighting, stage direction, and production value.

Credit must be given primarily to Abbado for handling such a complex Verdi score. The luminescent and chiaroscuro shades and the dramatic colors begged by the 1881 revision of the score presents a challenge to any conductor willing to undertake the difficult task of presenting the work before an audience. In several aspects, I think Simon Boccanegra is second only to Don Carlo and Otello as the most difficult works of Verdi to conduct. In my opinion, only Abbado, Serafin, Mitropoulos, and recently, Fabio Luisi, have been able to successfully bring out the shades of ochre, crimson, and sienna that characterize this masterpiece. Abbado, of course, attained perfection in his interpretation of the score when he realized the many subtleties. The La Scala strings have never sounded more shimmering and beautiful, and the typical Verdian musical language is gracefully incorporated by Abbado into producing dramatic moments rather than distinctive arias. No, Abbado doesn't treat it like Otello, but rather as the continuous drama that it should be with elements of early Donizettian style taken from his incubation period to the thespian sense of his latter years.

Saying that, I think the cast also contributes to the success of this recording. In the history of the opera's performances, there is perhaps no Amelia more successful than Mirella Freni, and by that I say that she is better than Renata Tebaldi, Zinka Milanov, Antonietta Stella, Astrid Varnay, Karita Mattila, and Kiri te Kanawa, among the other singers who have assumed this demanding spinto role. Her beautiful, youthful timbre, her natural sense of phrasing, her mastery of the language, and her impeccable legato line allow her to focus herself on the drama of the performance, thus giving us a three-dimensional portrait of Amelia often turned into a cardboard cut character by most sopranos. A definitive performance indeed, and perhaps her greatest Verdi character on record. Gabriele Adorno is played by the youthful Jose Carreras, whose youthful, sweet tone is a refreshing change of pace among the dramatic bulls who have no business sticking their noses in a role where lyricism favors dramatic weight. I would say that he and Carlo Bergonzi are the greatest exponents of this short yet elegant tenor role. The roles of Paolo and Fiesco are taken respectively by Jose Van Dam and Nicolai Ghiaurov, two of the greatest low male voices in the history of opera. Nicolai Ghiaurov gives a searingly noble characterization of Fiesco, much like the grand portrayal he gave of King Filippo II in Don Carlo. I would say that he and Ferruccio Furlanetto are the only basses to have given so much insight to this role.

In addition to all those amazing singers, I believe that the reason to get this recording is to listen to the Doge of Piero Cappuccilli. There is no doubt that he was one of the greatest Verdi baritones of a bygone era, and in perspective with his Amonasros, Rodigros, di Lunas, and Iagos, there is perhaps no greater assumption of this role than what Cappuccilli has to offer. There is a nobility, a compassion, and a elegiac quality to his singing that elevates his Boccanegra to a definitive status. Without a doubt, one of the greatest characterizations in his long career.

My verdict? This is the best recording of the opera that you will find in the market, so I hope you don't waste a chance to grab it.

This critic will not be expressing anything new in light of the many reviews for this 1977 studio recording of Verdi's obscure masterpiece Simon Boccanegra. The 5 principal singers - Piero Cappuccilli, Mirella Freni, Jose Carreras, Nicolai Ghiaurov and Jose Van Dam - are singing with glorious voice and dramatic commitment, making their characters alive with electrifying realism. The marriage of Verdi's darkly brooding music, lyrical melodies and virtuosic arias make for a truly grand opera. Originally a failure at the premiere, its libretto was later revised by the famous composer/librettist Arrigo Boito and enjoyed immense success. However, today it's an operatic rarity and only the baritone arias, like "Come en questa ora bruna" are featured in showcase albums. This recording is also available in a live taping of its La Scala performance in 1977. Claudio Abbado conducts with his usual greatness, attention to detail and subtleties. The haunting music is expressive and dramatically effective. It's too bad that this opera is not performed more often. It is a tale about a father's love for his long-lost daughter, of his mistrust for the man she loves. Personal conflict is pitched against a greater political struggle in Renaissance Venice, during the reign of the Doges. This theme of political problems and family problems was already used up by Verdi in both Don Carlos and Aida. As this opera is a later Verdi opera- 1870's- a little before Verdi wrote Otello and Falstaff- the music is far more mature and the storyline is broader (even confusing!) than earlier operas of his like the simple Traviata or Rigoletto. The music is really quite is really moving, dark, intense.

I would go as far as to say Boccanegra ranks among Verdi's best operas along with Don Carlos, Aida and Otello. The Council Chamber Scene is included here. It was featured in the later revised libretto and is opera's most beautiful moments. Each singer sings of their woes in a most moving manner and soaring above the ensemble is the soprano's cries of "Pace! Pace! (Peace! Peace!). Mirella Freni as Maria Boccanegra/Amelia is a revelation. Other than sounding like a pure lyrico-spinto or dramatic soprano, she sings with subtleties, with sweetness and with vigorous passion. While I still think that Verdi wasn't a particularly great repertoire for her, she does excell in this particular role as well as Queen Elisabeth Di Valois in Don Carlo. She sang Aida and that recording is on Deutsche Grammophone which also stars Cappuccilli and Jose Carreras but that is not the way Aida should be sung. As the Doge's daughter in this one, she is excellent and here we have a very fine dramatic singing-actress. Plus, she blends beautifully with Jose Carreras's rich, dark, velvety tenor voice. Although I would have preferred Placido Domingo in the role of Gabriel, which doubtless suited him, Carreras sings with unbeatable dramatic and lyric grandeur. All his arias are perfect for him. He was a terrific Verdi tenor.

This opera, however, is not a star vehicle for the tenor and soprano, which is the most unusual thing! Therefore, don't expect to hear much of the singing to come from Jose Carreras and Mirella Freni. The star is the Doge himself, sung by baritone Piero Cappuccilli. This is a magnificent showcase for a Verdi baritone, which Cappuccilli is. His singing is emotive, grand, invective, heart-felt and human, so human. The masculine timbre is fatherly and regal. This is exactly the kind of singing a Verdi baritione should have. Cappuccilli died only about a year ago, but his legacy as a great baritone is well documented in a few films and plenty of recordings. He made a terrific Macbeth, Amonasro and King Nabucco. Verdi was his specialty and on this recording, he pulls out all the stops.

Likewise, Jose Van Dam sings with supreme musicality, intoning every phrase with bravura, but to a lesser extent than the star Piero Cappuccilli. Fans of Van Dam will want to own this recording, as he was in his prime, singing with versatility. Only two years later he would be seen as Leporello in Joseph Losey's dark film version of Don Giovanni starring Ruggero Raimondi. He has a very virile quality to his singing and excellent control of breath. And as if the dark lower voices of Cappuccilli and Van Dam were not enough, Nicolai Ghiaurov has a part in this opera too. His bass never bordered on a growl. It was deep, beautiful and majestic. His fans will want to own this recording as well. This is a superb album.

Amazing that no one else has written a comment upon this gramophone classic! From the glories of Cappuccilli - who I usually do not like - to the ringing lyric tenor of Carreras, this recording leaves nothing wanting. Even the recent Met broadcast did not surpass this, great as it was. Although Mattila does give Freni more than a run for the money. We still wait for the likes of Ghiaurov, and the mellifluous sound of van Dam will not be with us for ever. Any Verdi lover who does not own this recording is culturally deprived. Respendent choral singing and the orchestra is top notch too! Abbado's finest opera recording of a still much under appreciated work!

Simon Boccanegra is mainly an opera for the male voices although Mirella Freni as Amelia/Maria puts in a very good performance. This gives the opera a sort of a "darker air", although not gloomy. Unlike many other Verdi operas this one does not contain any arias that are instantly recognizable, but instead you'll have hauntingly beautiful music throughout the entire opera.

This recording of Simon Boccanegra from 1977 is blessed with superb singers so you can hardly go wrong buying it. José Carreras sounds so wonderfully fresh and secure; it's as if his voice could do anything he wanted it to - without straining it the least bit. And that sensual sounding, honeyed voice he's so famous for is most evident in this recording; and not to mention powerful. He's singing on full blast, going on and on and reaching newer heights without the slightest effort. You can just indulge yourself in his voice. I'm loosing track of everything else when listening to it. Listen to the aria "Oh Amelia ami" and you'll probably understand what I'm talking about.

In this aria you'll also hear my favourite baritone, the now late Piero Cappucilli who sings the part of Simon Boccanegra. He's probably one of the best Boccanegra's on disc ever. He's truly involved in the play and in my opinion he possessed one of the most beautiful baritones. It's like velvet on your senses.

Mirella Freni is perfect as Amelia/Maria. In my opinion her voice is very suitable for this kind of repertoire. I don't like the voices that are just "loud" and nothing more. That's why I like Freni, because she is capable of doing more with her voice than just unsubtle screaming all around. Also, her voice blends just perfect with Carreras' and they create moments of pure bliss throughout the entire opera. I just love the aforementioned "Oh Amelia ami", but listen to "cielo di stelle orbato" as well and you'll hear some really fantastic singing.

The rest of the cast also belong to the group of celebrated opera singers. The wonderful basso Nicolai Ghiaurov as Jacapo Fiesco is just perfect. The duet with Carreras "Propizio ei giunge" is one of the arias you would like hearing over and over again. José Van Dam as Paolo Albiani is equally good. I have actually not been able to find a weak spot - or a bad singer - in this opera. This is solid work from beginning to end from both the composer and all the singers.

the Magical Combination of Cappuccilli, Ghairov and Carreras which was employed in the mid 70's often by La Scala has, unfortunatley, left little recorded legacy behind. Unlike the Pavarotti/ Sutherland or Milnes/ domingo, thee artists were less utilized. Their Don Carlos with Karajan was a bit of a bore, with Carreras and Cappuccilli already sounding tired at times. Listen to this Boccanegra (and alternatley the Forza Del Destino video by the Bel Canto society) to discover why this pairing thrilled so many .
Cappuccilli, who doesn't have the most pliant or beautiful voice, was nevertheless an incredible vocal actor who could blast through the toughest of Verdi's works. In his prime, he lends Boccanegra a power and gruff beauty, and fills out the lines with incredible breath control.
Ghiaurov's Bass-Baritone, black as death, is always perfect. His melancholy, slighly nasal tone, brings forth shadows of his King Phillip
Mirella Freni brings what she always brings to an operatic recording. She has a beautiful, warm, dark voice, that retains the control of a lyric soprano. Her top is huge and supple and, in her youthful prime here, she can harly have been wanted to sound better.
Carreras is a very different singer than the one you might associate with his name. The foggy top notes of the '80's are not yet in evidence (nor is the hakneyed and desperate phrasing). The wobble of the 90's is nowhere. This is the Carreras that was, for 5 years or so, the most popular and exciting of the worlds tenors. His tone is bright and his top has a ring and plangent spinto that Domingo could never approach (of course I love Domingo and recognize that he has sung excellently for 40 years to Carreras's 10.) Yet it is worth the price of the Cd to hear this exquisite Carreras singing.
Jose Van Dam is a surprizingly high-class paolo. Jose is in the same great form that produced his legendary Escamillio just 2 years previously with Domingo.
Verdi's political masterpiece speaks for itself. It is a touching story, and although it is complex it is not impossible to follow. There are no toe tapping numbers, but the musical standard is the greatest in the world.
I highly reccommend this set.