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Simon Boccanegra
This recording, presented in near-perfect sound, makes a compelling case for the value of opera in English. All the leads perform with exceptional diction, offering English-speaking listeners the immediacy and emotional impact of Verdi's music in their native language. While translations of operas can sometimes risk distorting the composer's intent, this performance avoids that danger. The singers not only deliver clear diction but also demonstrate a profound understanding of Verdi's Italian style and sentiment, ensuring that the composer's voice remains intact despite the change in language.
In the title role is the criminally underrepresented Delme Bryn-Jones, a true Verdi baritone with the sensitivity and nuance often associated with the finest British singers. Josephine Barstow takes on the role of Maria/Amelia, and while her vocal production may be "unique," she proves her mastery by spinning Verdi's legato lines with exquisite finesse. As Gabriele, Keith Erwin, though occasionally lacking in Italianate style and at times sounding as if he detoured from D'Oyly Carte, possesses a voice that is pleasant and engaging.
Forbes Robinson delivers a commanding performance as Fiesco, while a young Thomas Allen impresses as Paolo.
Track List
Prologue
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Act I
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Act II
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Act III
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Customer Reviews
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4.4
Based on 5 reviews
✓ Top Reviewer
United States
Wonderful Boccanegra in English
I've got to hand it to these artists: they make the story of Simon Boccanegra with its twists and turns much clearer with their clean diction and dedication to Verdi's score. Delme-Jones did not enjoy an international career which is too bad because he sounds like a true Verdi baritone and acts very convincingly. He and Barstow give us a memorable account of the Act One recognition scene ending with Delme-Jones lovely pianissimo "Maria!" spun out in a beautiful head voice. Barstow really makes something of Amelia/Maria. Erwin doesn't sound like a spinto Italian tenor, but he too makes something much more specific of Gabriele than we usually get assisted by his clear diction. Robinson and Allen are just as effective; would that all Paolos were as good as the young Thomas Allen!The sound is excellent. There is a short portion of the Amelia/Gabriele duet from Act One missing from the mastertape. Other than that we're home free. All Verdians should hear this!
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Japan
Sublime Thomas Allen
I purchased this recording to listen to Thomas Allen singing Paolo and it was well above expecations. His wonderful English diction and artful, knavish interpretation never let you down. Only 27 years-old at this time, his artistry is already reaching at its highest.
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✓ Top Reviewer
United States
Triumph in Cardiff
Sometimes it takes a Welsh opera company, performing in English, to deliver an idiomatic performance of a classic Verdi opera. Such is the case here. While the conducting of James Lockhart is merely routine, this is as close as one can come to a serious complaint. "Simon Boccanegra" sounds as though it were a studio broadcast with a live audience: the voice/orchestra balance is ideal, stage noises are absent and every word of the vivid translation is crystal clear.As the title character, Delme-Bryn Jones experiences some strain in the upper fifth of his voice, but he is eloquent, fatherly, authoritative and purls forth gorgeous tone. The *morbidezza* in Josephine Barstow's voice lends itself well to Amelia and, as her lover, Keith Erwin possesses both juicy tone and welcome *slancio.* Forbes Robinson didn't get many chances at cantabile roles like Fiesco and he capitalizes on the rare opportunity. Paolo deserves special mention, as it is Thomas Allen, early in his career and yet already manifesting greatness as an artist. The sound is top-flight mono.
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✓ Top Reviewer
Australia
John Stanton
I generally approach English language operas with trepidation. One, in my experience always needs a libretto anyway, unless it's a translation of a well known opera, so my feelings about it are generally: Why bother!The first Sign that this recording issomething above the usual, is that the opening scene is completely understandable with excellent diction from the finely focussed voices of Thomas Allen (probably the best Paolo, I've heard on the many recordings) and Delme Bryn-jones. Jones has a warm attractive baritone with bright highlights that reveal his provenance as much as does his name. Forbes Robinson is a noble fiasco and brings a sense of humanity and dignity to this vengeful character.Josephine Bastow is an appropriately demure and youthful Amelia. However she doesn't fare as well as the men in the diction stakes, and the the lower part of her voice does not carry well. Keith Erwin is a little lean of tone, but he responds successfully to the demands of music and drama. His diction is excellent and the whole satisfying listening experience: general clarity of diction, idiomatic response to drama and music is in no small way made accessible by the excellence of the sound.
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James Mertins
WHAT IS SHE SINGING,? NOT ENGLISH, BUT SHE NEVER COULD, her vocal production was always unorthodox. She was one of those singers who made the most awful faces trying to sing. Never got why she made it, her husband certainly helped. I saw her in everything from the Knot Garden to Lady Macbeth but she still left me wondering why she bothered.
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