Organization

Choreographer

Antun Marinić

Chorus master

Ana Šabašov

Lighting designer

Zoran Mihanović

Baritone

Kiril Manolov

Simon Boccanegra

Bass

Ivica Čikeš

Jacopo Fiesco

Tenor

Bojidar Nikolov

Gabriele Adorno

Ozren Bilušić

Paolo Albiani

Siniša Štork

Pietro

Božo Župić

Vinko Maroević

Captain of the Crossbowmen

Špiro Boban

Soprano

Olga Romanko

Amelia Grimaldi

Mezzo-soprano

Barbara Sumić

Amelia's maid

HNK Split

Others

HNK Split Choir

Orchestra

HNK Split Orchestra

Split

Croatia

Simon Boccanegra Verdi

Public

Approved

Verdi wrote the first version of his Simon Boccanegra in 1857, based on the play by the Spanish author A. García-Gutierrez, the one to whom we owe the novel content of Troubadour . Dissatisfied with the results, Verdi turned to Arrigo Boito, the author of the unfinished Neroneo , who inspired the playwright to rework the libretto and create a new, final version that triumphed on the stage of Milan's Scala in 1881 .

In the new adaptation, something of the original romance remains: family hatred, intrigue, poison, daggers, a lost and then found child, recognition, exchange of identity, or perhaps all of these, Boccanegra now becomes an opera of deep national and universal meaning. The tragedy of the Genoese Doge Simon, whose happiness always eludes him when it seems that he is within his grasp, goes hand in hand with his mission as a national peacemaker, the one who wants to end once and for all the class antagonisms within Genoa, as well as the mutual conflicts between the Italian cities. Instead of hate, a call for love.

English

Prvu verziju svog Simona Boccanegre Verdi je napisao 1857., prema drami španjolskog autora A. Garcie-Gutierreza, onog istog kojem dugujemo romaneskni sadržaj Trubadura. Nezadovoljan ishodom, Verdi se obraća Arrigu Boitu, autoru nedovršenog Neronea, ovaj dramaturški nadahnuto prerađuje libretto i nastaje nova, konačna verzija koja 1881. trijumfira na pozornice milanske Scale.

U novoj obradi ostaje nešto od izvorne romanesknosti: obiteljske mržnje, spletke, otrov, bodeži, izgubljeno pa opet pronađeno dijete, prepoznavanja, zamjene identiteta, ali uza sve to, Boccanegra sada postaje opera dubokog nacionalnog i općeljudskog značenja. Tragedija genoveškog dužda Simona, kojem sreća uvijek izmiče kada se učini da mu je nadohvat, ide usporedo s njegovom misijom nacionalnog pomiritelja, onog koji hoće jednom zauvijek dokrajčiti kako staleške suprotive unutar Genove, tako i međusobne sukobe talijanskih gradova. Umjesto mržnje, poziv na ljubav.

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