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Opera review: Simon Boccanegra, Royal Festival Hall, Southbank London

Opera North gives a masterclass in operatic concert staging.
An orchestra is in the background. In the foreground a woman is standing in front of a desk. Two men are standing between her, The one on the right is wielding a small knife. A scene from Opera North's staged concert version of Verdi's 'Simon Boccanegra'.

Opera North’s production of Simon Boccanegra at the Royal Festival Hall this weekend was indeed a masterclass in how to present a concert-staged opera. From the haunting opening with a marble crypt on stage to the tragic finale, this performance was a magical blend of musical excellence and eloquent storytelling. With more than 70 musicians on stage and the vast Opera North chorus, Principal Guest Conductor Antony Hermus kept it all together with a cracking pace and a precise baton, making the most of Verdi’s exceptional orchestral vocabulary.

In the 1850s, Giuseppe Verdi was an operatic hit-maker. Fresh from the success of Rigoletto, La Traviata and El Travadore, it seemed he could do no wrong. At the time, then, this work was a rare disappointment from a man hailed as the greatest opera composer of the day – it only became popular some years later after a full revision of the score and libretto. Here, director PJ Harris acknowledged the time and place of the text while affirming its resonance and timelessness.

In grand operatic tradition, the storyline here is somewhat convoluted. Indeed, the prologue takes almost as long as the first act and involves an illegitimate child and a hidden identity. We then jump forward 25 years and become embroiled in both personal and political intrigue. 

Set against the personal tragedies of the characters, we see a stormy political situation emerging as the determined Plebians are pitted against the entitled Patricians. It might be that Verdi felt a particular affinity with these characters and understood both sides of the social divide. He was ‘born poor in a poor village’ but amassed great wealth during his lifetime. Before his death in 1901, Verdi gave 2.5 million lire to finance a home for aged musicians that is still operating today, funded by royalties from his estate. 

The title role of Simon Boccanegra, the first Doge (Chief Magistrate and Head of State) of Genoa was played by baritone Roland Wood with quiet authority and a warm humanity. He is a man conflicted, in both his personal and public lives, and Wood showed this angst. Bass Vazgen Gazaryan sang Jacopo Fiesco with a rich, warm voice. He has one of the most touching lines in the piece: ‘shelter your thoughts in the harbour of love’ in the moving aria ‘Il lacerato spirito’ (the lacerated spirit). Wood and Gazaryan together were a powerful vocal combination. And an opera always benefits from a streak of villainy, here it’s Paolo, portrayed with depth and powerful vocals by Mandla Mndebele. Gabriele Adorno, played with a convincing desperation by Andrés Presno, is Boccanegra’s other enemy. 

Italian Soprano Sara Cortolezzis, making her Opera North debut here as Amelia Grimaldi, was a joy. This is a key role that requires emotionality, determination and empathy as well as vivid singing, and Cortolezzis handled it with flair. Her duets were delightful, highlighting her range as a singer and an interpreter of character.  

Read: Theatre review: Joseph and the Amazing Technicolor Dreamcoat, Birmingham Hippodrome

This production made full use of the concert format with singers – and occasionally orchestra members – popping up unexpectedly in the galleries, above the stage, and even running down the aisles in the Hall. The chorus singing off-stage, their voices echoing into the Hall, was a lovely touch and especially effective in the ethereal ‘she is dead’. Even the minimal set, beautifully designed by Anna Reid, was replete with imagery and imagination.

Opera North’s beautiful production of Simon Boccanegra captivated the audience with its superb music, creative staging and dramatic intensity. Bravo!

Simon Boccanegra
Opera North

Royal Festival Hall, Southbank, London
Composer:  Giuseppe Verdi
Libretto: Francesco Maria Piave, with additions by Giuseppe Montanelli Revised (1881) by Arrigo Boito after the play (1843) by Antonio García Gutiérrez

Orchestra and Chorus of Opera North
Conductor: Antony Hermus 
Chorus Master: Anthony Kraus
Orchestra Music Director: Garry Walker
Director: PJ Harris 
Designer: Anna Reid 
Lighting Designer: Richard Moore
Cast: Mandla Mndebele, Richard Mosley-Evans, Roland Wood, Vazgen Gazaryan, Sara Cortolezzis, Andrés Presno, Laura Kelly, Ivan Sharpe


Simon Boccanegra was performed for one night only on 24 May 2025 following a national tour. See more of the company’s program at Opera North.

Dr Diana Carroll is a writer, speaker, and reviewer currently based in London. Her work has been published in newspapers and magazines including The Sydney Morning Herald, The Australian, Woman's Day and B&T. Writing about the arts is one of her great passions.