The New National Theater’s ‘Simon Boccanegra’ brings Doge’s Tale to Tokyo

Opera is an all-encompassing spectacle that unites music, art and theater. With such breadth, even the most renowned opera houses can struggle to perfect every element.

But a new production of “Simon Boccanegra” at the New National Theater in Tokyo was wonderfully well-rounded. The production’s world premiere took place at the theater on November 15, opening a run of five shows.

Verdi’s opera with a prologue and three acts, written in the middle phase of his career, premiered in 1857 but was later revised. It may not be performed as often as the composer’s “La Traviata” or “Rigoletto,” but opera fans admire its insight into an honorable man tormented by a tragic fate, amid a political conflict between plebeians and patricians.

The main character is based on a historical figure who went from pirate to first doge of Genoa in the 14th century. In the opera he becomes head of state immediately after the death of his lover, who was imprisoned by her father, and the disappearance of his daughter. 25 years later, his daughter, named Amelia by her adopted family, is in love with the young Mr. Gabriele, although she does not know that his father is the political enemy of her own biological father.

Kudos to Kazushi Ono, the theater’s artistic director, for bringing together this excellent production team. The co-production with the Finnish National Opera in Helsinki and Teatro Real in Madrid was produced by Pierre Audi, who has directed the Festival d’Aix-en-Provence in France since 2018 and previously headed the National Opera for many years.

Inspired by the ancient Greek philosopher Empedocles, who committed suicide by throwing himself into a volcano, Audi expressed Simon’s loneliness and his precarious political situation by hanging a volcano upside down above the stage. The grandly symbolic set was designed by Anish Kapoor, a renowned artist who had previously collaborated with Audi.

The production was dramatically lit by Jean Kalman and featured partly modern, partly traditional costumes by Wojciech Dziedzic.

Ono conducted with deft tempo and volume changes, and the Tokyo Philharmonic Orchestra in the pit astutely followed suit.

The production was also blessed with an excellent international cast. Italian baritone Roberto Frontali, who wowed the theater in May as the titular character in “Rigoletto,” gave a successful performance as Simon. Russian soprano Irina Lungu also made a welcome return to the theater as Amelia. And how moving was their reunion as father and long-lost daughter.

Riccardo Zanellato’s deep bass was perfect as Fiesco, the father of Simon’s doomed lover, and Luciano Ganci’s passionate tenor suited Gabriele well. Simone Alberghini expertly sang the role of Paolo, a treacherous councilor of Simon. Members of the New National Theater Chorus contributed to the production vocally, of course, but also by crawling across the stage in one scene.

All in all, it was a production that will have to be revived soon.