SIMON BOCCANEGRA, VERDI

The Observer

It is typical of Domingo, always fully committed to the dramatic as well as musical aspects of any work, to select Verdi's most recondite opera - which even the composer initially found too gloomy - for this daring adventure. The performance was slow to ignite. Marina Poplavskaya's Amelia sounded out of sorts in her wistful Act I aria, "Come in quest'ora", with the sound of the sea rippling its barcarolle in the woodwind. But the Maltese tenor Joseph Calleja, making his debut as Adorno, which Domingo himself has sung so many times, set all ablaze with his ardent voice, the tone supple and flexible.

Hearing Domingo united with, and inevitably overshadowed by, his own younger voice type was strange and touching. Inevitably, because the tenor voice is a showpiece instrument, at its best in those highest notes which require superhuman effort and create a sound beyond normality. It is why the tenors get the girls. Baritones, instead, when they're not villains, provide wisdom, subtlety, richness of human spirit. Their vocal range is more akin to the spoken voice and their great solos go beyond heart to soul.

Fiona Maddocks, The Observer

The Sunday Times

After a raw-toned start, Poplavskaya settled down to deliver soaring lines and exquisite pianissimi, while Calleja's Adorno sported the most glamorous tenor here since Domingo himself sang the part in 1997. His aria brought the house down. There were two Adornos on stage, and two Boccanegras: the veteran Jonathan Summers, a Doge down the road at the Coliseum during the Powerhouse era, returned, still in ringing voice, as Paolo Albiani, Boccanegra's henchman and eventual poisoner, a role he first sang at the house 30 years ago. A great night for the veterans, then: in fact, a triumph for all concerned.

Hugh Canning, The Sunday Times

The Times of London

"In the tenor role of Adorno, the fabulous Joseph Calleja, a protégé of Domingo, made me think not of his elder co-star but more of a young Pavarotti: in his care, the future of tenor singing looks pretty rosy."

Neil Fisher, The Times of London

The Evening Standard

"The tenor role of Gabriele Adorno, which Domingo would normally have sung, is taken by Joseph Calleja. There is a trace of a beat in his voice, but his ringing high notes also won the hearts of the audience."

Barry Millington, The Evening Standard

The Independent (UK)

"The action then jumps forward 25 years, and he becomes transformed: now he has the demeanour of a king worn down by office. The unfolding revelations of the second act, with the lustrous Marina Poplavskaya as his long-lost daughter, and the vibrant Maltese tenor Joseph Calleja as her lover, become a drama ennobled by the sheer goodness Domingo projects. In the great council scene he becomes the voice of peace, stilling an angry mob, then pronounces a thunderous curse on the former ally who will kill him.

As the plot winds towards its terrible denouement – of retribution, reconciliation, and the passing on of the torch – it is clear that there are three heroes in this production: Calleja, Furlannetto and Domingo – with Domingo wearing the crown. Stumbling and struggling to breathe as the poison in his veins takes hold, his leave-taking wrings the heart, with his last words sounding like a benediction from the grave. Long may he continue to triumph."

Michael Church, The Independent

The Guardian

"But the biggest cheer during the actual performance goes to Joseph Calleja, singing Domingo's old tenor role of Gabriele Adorno with an ardent intensity that caps anything else he has done here."

Erica Jeal, The Guardian

The Financial Times

" Joseph Calleja contributed a thrilling Adorno."

Andrew Clarck, The Financial Times

What's on Stage

"With so much darkness Boccanegra can sometimes feel pitched at one level and one of the strengths of the casting is the balance of voices, from Ferruccio Furlanetto’s velvety basso Fiesco (a terrific battle of giants in his encounters with Domingo) to the light, bright tenor of Joseph Calleja, reminiscent of the young Jose Carreras, who was almost peerless as Gabriele Adorno. Jonathan Summers, a little raddled of voice these days, is a petulant and maundering Paolo and adds another layer of baritonal sound."

Simon Thomas, What's on Stage

Classical Source

"With so much darkness Boccanegra can sometimes feel pitched at one level and one of the strengths of the casting is the balance of voices, from Ferruccio Furlanetto’s velvety basso Fiesco (a terrific battle of giants in his encounters with Domingo) to the light, bright tenor of Joseph Calleja, reminiscent of the young Jose Carreras, who was almost peerless as Gabriele Adorno. Jonathan Summers, a little raddled of voice these days, is a petulant and maundering Paolo and adds another layer of baritonal sound."

Graham Rogers, Classical Source

ABC Cultura

"Joseph Calleja really stands out in the role of Adorno, the leader of the revolt and Amelia's boyfriend, daughter of Boccanegra."

Emili J. Blasco, ABC Cultura

The Stage

"Nearly stealing the evening is Joseph Calleja as Gabriele Adorno - Domingo’s former role. Taking on a heavier assignment than he has sung hitherto, Calleja proves himself a match for it and supplies the most exquisite singing of the evening."

George Hall, The Stage

El Mundo

"Domingo was accompanied by an extraordinary cast last night. The first, the tenor Joseph Calleja performed the role of Gabriele Adorno, which Domingo once interpreted on the same stage. There is nothing in his voice or his presence to be criticized in the young Maltese tenor, who emerged unscathed from the analogy with the teacher and received generous applause from the audience in Covent Garden."

Eduardo Suarez, El Mundo (Spain)

Mark Ronan's Blog

"The acting of Domingo, Furlanetto and Poplavskaya was simply wonderful — I cannot imagine better. Add to that the singing of Joseph Calleja as Amelia’s beloved Gabriele Adorno, and this was a terrific cast — Calleja sang like a god."

Mark Ronan's blog

The Telegraph

"If one was ruthlessly marking on points, one might judge him outclassed vocally by Ferruccio Furlanetto’s imposing Fiesco or the gloriously youthful tenor of Joseph Calleja. But if some of Domingo’s old power has gone, and the finesse with it, the peerless nobility and sincerity remains."

Rupert Christiansen, The Telegraph