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Simon Boccanegra tickets

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Simon Boccanegra

Venue: Erkel Theatre

 
1087 Budapest
II. János Pál pápa tér 30
Hungary
 
 
All dates
Season 2018
 

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Next performance (see season calendar above for other dates)
Simon Boccanegra
Fri 02 February 2018
1
Hour Hall Price Tickets Buy
19:00 Erkel Theatre 24 € Add to cart
 
 
Simon Boccanegra
Sat 03 February 2018
1
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19:00 Erkel Theatre 24 € Add to cart
 
 
Simon Boccanegra
Sun 04 February 2018
1
Hour Hall Price Tickets Buy
19:00 Erkel Theatre 24 € Add to cart
 
 
 
Event details
 
Composer: Giuseppe Verdi

Synopsis

 

Act 1
(Act 2 in the 1857 original)

[Twenty-five years have passed. Historically the action has moved from 1339, the year of Simon's election in the prologue, forward for acts 1, 2 and 3, to 1363, the year of Simon's death]

[The Doge has exiled many of his political opponents and confiscated their property. Among them is Jacopo Fiesco, who has been living in the Grimaldi palace, using the name Andrea Grimaldi to avoid discovery and plotting with Boccanegra's enemies to overthrow the Doge. The Grimaldis have adopted an orphaned child of unknown parentage after discovering her in a convent (she is in fact Boccanegra's child, Maria (known as Amelia) named after her mother, and she is Fiesco's granddaughter). They called her Amelia, hoping that she would be the heir to their family's fortune, their sons having been exiled and their own baby daughter having died. Amelia is now a young woman.]

Scene 1: A garden in the Grimaldi palace, before sunrise

Amelia is awaiting her lover, Gabriele Adorno (Aria:Come in quest'ora bruna – "How in the morning light / The sea and stars shine brightly"). She suspects him of plotting against the Doge and when he arrives she warns him of the dangers of political conspiracy. Word arrives that the Doge is coming. Amelia, fearing that the Doge will force her to marry Paolo, now his councilor, urges Adorno to ask her guardian Andrea (in reality, Fiesco) for permission for them to marry: Sì, sì dell'ara il giubilo / contrasti il fato avverso - "Yes, let the joy of marriage be set against unkind fate".

[1857 original version: the duet ended with a cabaletta (set to the same words as the 1881 text) then "a coda and a battery of chords followed by applause."]

Fiesco reveals to Adorno that Amelia is not a Grimaldi, but a foundling adopted by the family. When Adorno says that he does not care, Fiesco blesses the marriage. Boccanegra enters and tells Amelia that he has pardoned her exiled brothers. She tells him that she is in love, but not with Paolo, whom she refuses to marry. Boccanegra has no desire to force Amelia into a marriage against her will. She tells him that she was adopted and that she has one souvenir of her mother, a picture in a locket. The two compare Amelia's picture with Boccanegra's, and Boccanegra realizes that she is his long-lost daughter. Finally reunited, they are overcome with joy. Amelia goes into the palace. Soon after, Paolo arrives to find out if Amelia has accepted him. Boccanegra tells him that the marriage will not take place. Furious, Paolo arranges for Amelia to be kidnapped.

Scene 2: The council chamber

[1881 revision: This entire scene was added by Verdi and Boito in place of the 1857 scene, which took place in a large square in Genoa.] 

The Doge encourages his councillors to make peace with Venice. He is interrupted by the sounds of a mob calling for blood. Paolo suspects that his kidnapping plot has failed. The Doge prevents anyone leaving the council chamber and orders the doors to be thrown open. A crowd bursts in, chasing Adorno. Adorno confesses to killing Lorenzino, a plebeian, who had kidnapped Amelia, claiming to have done so at the order of a high-ranking official. Adorno incorrectly guesses the official was Boccanegra and is about to attack him when Amelia rushes in and stops him (Aria: Nell'ora soave – "At that sweet hour which invites ecstasy / I was walking alone by the sea"). She describes her abduction and escape. Before she is able to identify her kidnapper, fighting breaks out once more. Boccanegra establishes order and has Adorno arrested for the night (Aria: Plebe! Patrizi! Popolo! – "Plebeians! Patricians! Inheritors / Of a fierce history"). He orders the crowd to make peace and they praise his mercy. Realizing that Paolo is responsible for the kidnapping, Boccanegra places him in charge of finding the culprit. He then makes everyone, including Paolo, utter a curse on the kidnapper.

 

Act 2
(Act 3 in the 1857 original)

The Doge's apartments

[1881 revised version: There are some small adjustments in this act which include expanding Paolo's opening aria, thus giving him greater stature in the work: Me stesso ho maledetto! / "I have cursed myself", the wording of which was originally: O doge ingrato ... ch'io rinunci Amelia e i suoi tesori? / "O ungrateful Doge! ... Must I give up Amelia and her charms".] 

Paolo has imprisoned Fiesco. Determined to kill Boccanegra, Paolo pours a slow-acting poison into the Doge's water, and then tries to convince Fiesco to murder Boccanegra in return for his freedom. Fiesco refuses. Paolo next suggests to Adorno that Amelia is the Doge's mistress, hoping Adorno will murder Boccanegra in a jealous rage. Adorno is furious (Aria: Sento avvampar nell'anima – "I feel a furious jealousy / Setting my soul on fire"). Amelia enters the Doge's apartments, seeming to confirm Adorno's suspicions, and he angrily accuses her of infidelity. She claims only to love him, but cannot reveal her secret – that Boccanegra is her father – because Adorno's family were killed by the Doge. Adorno hides as Boccanegra is heard approaching. Amelia confesses to Boccanegra that she is in love with his enemy Adorno. Boccanegra is angry, but tells his daughter that if the young nobleman changes his ways, he may pardon him. He asks Amelia to leave, and then takes a drink of the poisoned water, which Paolo has placed on the table. He falls asleep. Adorno emerges and is about to kill Boccanegra, when Amelia returns in time to stop him. Boccanegra wakes and reveals to Adorno that Amelia is his daughter. Adorno begs for Amelia's forgiveness (Trio: Perdon, Amelia ... Indomito – "Forgive me, Amelia ... A wild, / Jealous love was mine"). Noises of fighting are heard – Paolo has stirred up a revolution against the Doge. Adorno promises to fight for Boccanegra, who vows that Adorno shall marry Amelia if he can crush the rebels.

 

Act 3
(Act 4 in the 1857 original)

[1857 original version: Act 4 opened with a double male voice chorus, and a confused dialogue involving references to details in the original play.]

Inside the Doge's palace

The uprising against the Doge has been put down. Paolo has been condemned to death for fighting with the rebels against the Doge. Fiesco is released from prison by the Doge's men. On his way to the scaffold, Paolo boasts to Fiesco that he has poisoned Boccanegra. Fiesco is deeply shocked. He confronts Boccanegra, who is now dying from Paolo's poison. Boccanegra recognizes his old enemy and tells Fiesco that Amelia is his granddaughter. Fiesco feels great remorse and tells Boccanegra about the poison. Adorno and Amelia, newly married, arrive to find the two men reconciled. Boccanegra tells Amelia that Fiesco is her grandfather and, before he dies, names Adorno his successor. The crowd mourns the death of the Doge.

 
Program details
 

Conductor: Balázs Kocsár 


Simon Boccanegra: Alexandru Agache 
Amelia Grimaldi: Polina Pasztircsák 
Jacopo Fiesco: Gábor Bretz 
Gabriele Adorno: Attila Fekete 
Paolo Albiani: Csaba Szegedi 
Pietro: Attila Dobák 
Captain of the crossbowmen: Gábor Csiki 
Amelia' maid: N.N. 
Capitano: N.N.


Librettist: Arrigo Boito / Francesco Maria Piave 
Director: Ivan Stefanutti 
Set and costume designer: Ivan Stefanutti 
Light designer: Claudio Schmid 
Choir Master: Kálmán Strausz

 
Venue
 
Erkel Theatre
 

Opened in 1911 originally, the Erkel Theatre is Hungary’s largest theatre building. Its history is intertwined with the golden age of Hungarian opera performance, with such luminaries as Luciano Pavarotti, Placido Domingo, Éva Marton and Grace Bumbry all having graced the stage of a building whose acoustics are considered the stuff of opera legend.

After being shuttered up for more than five years with its fate in doubt following closure in 2007, the Hungarian government last year provided 1.7 billion forints in grants for the theatre’s renewal, allowing the Hungarian State Opera to renovate the Erkel Theatre to a standard suitable for holding performances.

Much of the refurbishments took place behind the scenes, with soloist and shared dressing rooms and common areas refitted and expanded. In addition, the stage’s technical equipment has undergone significant modernisation, while the building’s service systems (water, plumbing, heating and ventilation) have also been brought up to date.

Audiences will now step into an auditorium with a completely new look, while every effort was made to ensure that the building's fantastic acoustic properties remained unchanged. A factor that will greatly increase comfort is the modern ventilation system installed in the seating area. Although the number of seats has been reduced from 1,935 to 1,819 by refitting the rows of seats for more comfort, the theatre nevertheless retains its rank as the highest capacity theatre in Hungary – and in Eastern Central Europe.

 
 
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