Simon Boccanegra Listening Guide by Eric Domville, Edited by Katherine Semcesen

Simon Boccanegra Listening Guide by Eric Domville, edited by Katherine Semcesen

Dramatically and musically, Simon Boccanegra provides the audience with a quintessential opera: with large choruses, powerful solos and ensembles, and an emotionally charged score for the orchestra.

The tracks listed below correspond to the complimentary Listening Guide CD provided to school group bookings only.

Not coming to the opera but looking to explore Simon Boccanegra in the classroom? The excerpts below can be found in the recording from Deutsche Grammophon, featuring the Orchestra and Chorus of the Teatro alla Scala, Milan, under conductor Claudio Abbado, with singers Mirella Freni, Piero Cappuccilli, Nicolai Ghiaurov, José Carreras and José van Dam.

Track # Musical Connection Musical elements Strategies for excerpt to the story and significance Listening

1 Prologue The story begins in The music sets the scene and mood for Close your eyes and listen “Che dicesti?“ a square in Genoa. the opera. Genoa – being a port city – to this excerpt. How are (“What did you Paolo and Pietro is located near the water’s edge. The the characters moving say?”) discuss who is to orchestra opens with a rolling and moving on stage? How do they be the next Doge. string melody that introduces the maritime relate to each other? What They try to convince theme [0:00 – 1:23]. In this passage the does the scene look like – Simon that he singers are singing in a declamatory style colours, location, textures is worthy of this called recitative. A composer would use – based on the music? appointment and this style to propel the story or action of that this title and the opera forward. Generally, recitatives power will help him are lightly underscored by the orchestra. win over Fiesco’s daughter Maria, The whispering of the characters and the whom he loves. pianissimo in the strings [5:00 – 5:08] establishes a mood of secrecy and conspiracy.

2 Prologue Fiesco’s daughter, Verdi uses heavy brass and the lower Verdi was a master of “A te l’estremo Maria, has just died. strings to evoke a dark mood [0:00 – dramatic choral writing. addio, palagio Maria and Simon 0:43]. Throughout the opera Verdi makes He effectively uses the altero, Freddo had a daughter, effective use of off-stage voices. Here off-stage chorus as an sepolcro dell’ also called Maria. the chorus laments Maria’s death off- extension of the drama that angiolo mio!” Simon is Fiesco’s stage, with heavenly sounding voices. is happening on stage. (“A last farewell most hated rival, Fiesco’s deep and dark bass voice What effect does this to you, proud and the older man suggests a man of confidence, dignity produce? palace, calls for vengeance and determination. Cold sepulchre in this aria. of my angel!”)

Canadian Opera Company ~ Education and Outreach ~ Simon Boccanegra Study Guide 2008/2009 ~ coc.ca ~ 416-306-2307 Track # Musical Connection Musical elements Strategies for excerpt to the story and significance Listening

3 & 4 Prologue Simon pleads for Simon and Fiesco alternate passages Voice types can help Duet: forgiveness for his of declamation with lyrical sections define a character. For “Suona offence. Fiesco [1:13 – 1:33]. The maritime theme is instance, a light soprano ogni labbro demands the return of revisited again when Simon narrates (high female voice type) il mio nome“ his granddaughter, but the mysterious disappearance of his might best be used (“My name she is lost. Simon is daughter [3:37 – 4:28]. Listen for to represent a young is on every searching for her. He Simon’s off-stage cry of “Maria!” when woman, where a darker tongue”) enters Fiesco’s palace, he discovers she’s dead. There is a sounding mezzo soprano only to discover that change of tempo (speed of music) and (middle female voice type) the woman that he mood at the end of the scene when might evoke a sense of loves is dead. The the chorus acclaims Simon as the new authority and might be people proclaim him Doge, accompanied by bells wildly more appropriate for a Doge. ringing in the orchestra. mother or a queen. Do you think Verdi chose appropriate voice-types for the characters of Simon and Fiesco? Why or why not?

5 Act I Amelia Grimaldi In total contrast, a dawn scene: Verdi used recitative “Come in (actually Simon’s woodwinds sounding like birds-song extensively in the quest’ora daughter, Maria) accompany Amelia’s entrance aria [0:00 Prologue. In Act I, he bruna” laments being an – 0:20]. A distinct lightening of mood changes the musical (“How the orphan. However, the and orchestration are appropriate to a quality by immediately stars and prospect of meeting young woman in love. Her long, smooth starting with an aria. An the sea are her lover, Gabriele, phrases hint at her warm, sincere and aria is a song in which a smiling at makes her happy. kind hearted nature. The orchestration of character expresses his this dark the piece – slow tempo, the use of upper or her feelings or reaction hour!”) strings and woodwinds – suggest an to a situation. The focus atmosphere of tranquility and peace. is more on melody than it is plot advancement (this is why singers can get away with singing for five minutes about how much they love another character, or how painful it is for them to die…). Why would Verdi suddenly shift to this form of writing?

6 Act I Both Amelia and A march rhythm affirms the father/ If you were Amelia what “Figlia! A Simon have a locket daughter bond in another kind of love kinds of emotions would tal nome containing a portrait of duet. For the only time in the opera you experience. Musically, palpito” Maria. They realize that the voices have overlapping phrases, does Verdi do these (“Daughter! they are father and emphasizing the closeness of their feelings justice – why or At that daughter. relationship. why not? name I tremble”)

7 Act I Simon calls for an end Simon’s aria climaxes with the repetition An ensemble is when “Plebe! to the fighting that is of “E vo gridando: pace!” (“and I cry: two or more solo Patrizi ! tearing apart not only Peace!”). Verdi’s sparing use of repetition voices (or characters Popolo, Genoa but all Italy. He heightens the impact and precipitates the in an opera) sing Della feroce sings the praises of great final ensemble of the act as private together – each storia!” peace in one of the and public matters intertwine. expressing their (“Plebeians! great outpourings of individual feelings Patricians! the opera. or viewpoints. Try to Heirs to listen to the separate a fierce melodies. Do the history.”) melodies differ? Do they sound the same?

8 Act II Not yet knowing of Gabriele has a showpiece tenor “rage” aria A “rage” aria is a song “O inferno! the true relationship typical of 19th-century opera. There is a in which the singer Amelia qui! between Simon and contrasting interlude of lament “Io piango” expresses rage – for L’ama il Amelia, Gabriele calls (“I weep”) which heightens the impact. comic or serious plot vegliardo!” for vengeance against advances. Without (“O Hell! Simon. reading a libretto (the Amelia here! text of the opera) – The old man what do you think loves her!”) Gabriele might be saying in this aria based on the music?

9 Act III Amelia (Maria) and Finale: Verdi uses broken phrases for What is the impact “Gran Dio, li Gabriele are married. Simon to suggest the approach of death. of the unusual quiet benedici” Before he dies, Simon dies at peace with former enemies. ending for the listener? (“Almighty Simon calls upon Again there is an off-stage chorus How would you – as God, bless the senators to elect suggesting that life goes on outside the an audience member them”) Gabriele as the next restricted range of the stage. There is an – react to this type of Doge. appropriately quiet ending as the tragedy ending, versus a loud, closes. energetic ending?

Eric Domville is a member of the COC’s Volunteer Speakers Bureau. Katherine Semcesen is the COC’s Education and Outreach Manager.

Canadian Opera Company ~ Education and Outreach ~ Simon Boccanegra Study Guide 2008/2009 ~ coc.ca ~ 416-306-2307