Opera Philadelphia's Simon Boccanegra is a visceral treat to the eye as well as the ear.
In one respect, this opera is an odd vehicle for answering the question. The story is unnecessarily convoluted and arcane, set in the era of the warring city-states of 14th century Italy, hundreds of years before unification. Coups are hatched, mobs take pitchforks in hand, leaders are exiled, and characters develop relationships under false identities.
Verdi’s most exacting tool is the orchestra. His instinct for the theatrical possibilities of orchestral sound are both powerful and subtle . You couldn’t help but feel that Opera Philadelphia’s orchestra relished the challenge of this music, so expertly and lovingly was it performed. One standout: “Orfanella il tetto umile,” the duet where Amelia, sung by Ana María Martínez, and Boccanegra, sung by baritone Quinn Kelsey, realize they are father and daughter. These eight or nine minutes are some of Verdi’s most tender and soulful, and Martínez and Kelsey varied their vocal colors in response to the text. Rovaris relaxed the pacing of the sunny melody and harp-flecked coda that closes the section, extending the moment of fleeting sweetness.
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