 |
|
|
 |
 |
 |
|
 |
 |
 |
|
 |
| Simon Boccanegra |
| Sung by |
| Year |
| In the title role of the pirate who gets elected Doge of Genoa, baritone Dmitri Hvorostovsky exemplified all the evening's ups and downs. His vocal production was superb, a virtuoso display of smoky tone and sensual, forthright phrasing.
But for much of the first act, Hvorostovsky's dramatic presence was opaque, and Edwards - whose minimalist direction involved plenty of solo declamations - didn't give him much to work with../ Review |
| Dramatic baritone role Genoese corsair, later the Doge |
 |
| SFO Simon Boccanegra |
| Aria Database for Simon Boccanegra |
 |
|
|
|
|
| This site and all related sites are for entertainment and reserch and contains information that anyone
can get by using a search engine, such as Google./ This site is a sub-site of SF ART World
// Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License |
| Dmitri Hvorostovsky�s darkly handsome voice and liquid production would seem to give him most of the vocal requirements for a fine Doge, and for the last several years the Russian singer has been adding the great Verdi baritone roles to his repertory. �Most,� however, is not enough. His top register lacks the bloom and power of a true Verdi baritone, and sometimes he is submerged by the orchestra. / SFCV
He's definitely more comfortable doing stately rather than agitated. He is not vocally overpowering, but always seems in control of his voice. His exclamation of joy when realizing he found his long lost daughter brought tears, so perfectly was it intonated. And he perfectly paced his long (spoiler!) agony, sending everyone home sniffing in their handkerchiefs./ SF First |
| Wixell was on hand in the title role, enacting this rather complex character with sensitivity./ pg 336 - 1922-1978 SFO-Bloofield |
 |
 |
| Paolo Gavanelli in 2001 "Verdi Celebration" Paolo Gavanelli's Boccanegra, the San Francisco Opera has found a protagonist of surpassing majesty. None of the Italian baritone's previous appearances with the company prepared one for the quiet dignity and suppressed anguish of Saturday's performance. Gavanelli's authority in the Council Chamber Scene was undeniable, the legato in the duet with his long-lost daughter, Amelia, was touching, and the half-voice deployed for the extended death scene bespoke uncommon artistry./ Review |
 |
 |
 |
| Simon Boccanegra |