Lunch music takes guests on a journey through Verdi and beyond

Photos Khalid al Busaidi

It is hard to make light, lunchtime entertainment out of a story as dark as Verdi’s tragic, “Simon Boccanegra”. However, covers and soloists from the Mariinsky Theatre, St. Petersburg gave it their best shot on Saturday providing some delicious voices with familiar lollipops to follow.

The Lunch Music series is part of ROHM’s outreach programme, hence it is free and staged in a bustling foyer with shoppers, cafés and children around. It was a challenge therefore for the baritone Vladislav Kuprijanov to portray the role of Fiesco when he learns of his wife’s death in captivity. Stark, bold piano chords from Maestro Grigory Yakerson introduced Fiesco’s Aria, “A te l'estremo addio, palagio altero.... Il lacerato spirito” (to you my final farewell, haughty palace, cold tomb of my angel). Nestled in the crook of the grand piano, Vladislav’s warm, rounded tone, beautifully placed in his lower register was immediately evident as he declaimed in deeply despondent colours.

Surely some joy from youthful, smiling Amelia, dressed in lilac brocade would follow; there was a lengthy, sweet piano prelude to, “Come in quest’ora bruna”, (How in the morning light, The sea and stars shine brightly) before Russian Soprano, Anzhelika Minasova astounded the audience with her gorgeous, rich tone quality across her range in this sincere, contemplative song as she awaits her love, Adorno.

Adorno himself, the tenor Alexander Mikhailov appears from behind a pillar for the delicious love duet, “Vieni a mirar la cerula .... Sì sì de l’ara il giubilo”. However, things descend into angry argument, depicted through their convincing facial expressions. It is a lyrical aria despite the subject matter, and Ms. Minasova maintained a controlled yet powerful line in her high register to the end. Their voices blended beautifully in the brief duet phrases, maintaining balance and intensity in tone colour at the final climax.

Adorno’s Aria, “O inferno! Sento avvampar nell’anima” (I feel a raging jealousy burning in my soul), opened with a fiery, determined, even enraged recitative section from Mikhailov and then unfolded into the familiar lyrical melody, lamenting Amelia’s supposed infidelity in a controlled, measured delivery (despite alarming security distractions in the building).

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A tutti section introduced the character of Boccanegra himself, sung by bass Gleb Perjazev in, “Plebe! Patrizi! Popolo!” This delightful, deep-felt aria about love featured a beautiful soprano line and developed into full Quartet Finale with Anzhelika Minasova soaring above her three gentlemen opponents. The story of Simon Boccanegra is not well known, so some explanation on what they are singing about would have been helpful.

The four encores gave each soloist a chance to shine in their own celestial spheres: Baritone Vladislav Kuprijanov created great comic relief in Rossini’s well known patter song, Basilio’s Aria, ‘La Calunnia’ from his opera buffa, “Barber of Seville”. It was a lovely contrast using dramatic expression and amusing vocal effects.

Manon Lescaut's famous heartbreaking aria at the end of Puccini’s opera, as she contemplates her impending death in, “Sola, Perduta abbandanata” is deep and sorrowful. Ms. Minasova focused each carefully crafted phrase of this heartfelt plaint with lush yet dark swells. Her vocal control and accuracy in high sustained passages is quite incredible, amplified no doubt by the generous acoustics of the Galleria.

Tenor, Alexander Mikhailov reappeared as a palpable Rudolpho from Puccini’s, “La Bohème” in a breath-taking rendition of, ‘Che Gelida Manina’. His delivery was motionless, so poised and tender at first that he held the audience spellbound. It developed with more expression and dramatic range as he moved towards the sustained, climactic high ‘C’ tessitura passage (on speranza - hope) at the end, and he was bound to receive a well deserved rousing applause.

Finally our bass, Gleb Perjazev made a second appearance with perhaps the most beloved lyric aria of all: the famous ‘Toreador Song’ from Bizet’s “Carmen”. His gorgeous rich vocal timbre was enough to beguile the audience as he painted a picture of the excitement and anticipation in the bullring, with his strong stage presence and subtle vocal infection. With that and a big ‘Bravo’ for the tireless piano Maestro, Grigory Yakerson, the audience dissipated with a strong taste of things to come.