By BRUCE DENNILL
Andrea Bocelli: 30th Anniversary / SunBet Arena, Time Square, Menlyn, Pretoria
Andrea Bocelli is one of that rare breed of artists who has enjoyed stratospheric success in more than one major part of the music industry, coming to prominence as an opera performer and then crossing over into pop with both his original version of the song Con Te Partiro and his duet version of the same song with Sarah Brightman, Time To Say Goodbye (now with some of the lyrics in English. Throughout his career, he’s coupled one of the most admired tenor voices of his generation with enduring charm and an enthusiasm for partnering with other singers and performers who complement his own work and can expand their own influence at the same time.
He and his team are also aware of the value of both a strong brand (from the many videos that link parts of the show, raising awareness of his charity, the Andrea Bocelli Foundation, as well as giving glimpses into his family life and reminding audiences of highlights of his storied career in a showreel that plays like most people’s music, theatre and travel bucket lists all rolled into one) and of the impact of scale. The SunBet Arena is decent-sized room, and impressive in its modern, well-specced way, but it’s no La Scala or Metropolitan Opera House. However, add a 69-piece orchestra (the Johannesburg Festival Orchestra) and a 60-piece choir (the Symphony Choir of Johannesburg) and the sense of occasion – not to mention the sonic complexity and power – is massively expanded. And when guest artists of the quality of soprano Mariam Batistelli, violinist Rusanda Panfili and classical crossover singer Amy Manford are given their own moments to shine in a setlist featuring opera standards and pop hits, the range of appeal is further widened. There is also the unusual inclusion of a dress code in the ticket information – smart/semi-formal – which adds to the sense of occasion.
The concert begins with Verdi’s La Donna È Mobile, a piece that listeners need almost no opera knowledge to recognise and enjoy, thus setting the bar for what is to come. After just two songs, Bocelli gives way to Batistelli, a fresh new face to many South Africans but an established star in European opera. She is beautiful and a wonderfully expressive performer, with her wide-eyed, smiling face zoomed in on and projected on giant screens on either side of the stage.
The next guest, Panfili, is an extraordinarily virtuosic violinist, with her version of Csárdás by Vittorio Monti instantly becoming the definitive performance of the composition for many onlookers and her fingers and instrument effectively becoming a single multi-faceted organism for the duration of the piece.
Later, Australian-born soprano Manford duets with Bocelli on Elvis Presley’s standard Can’t Help Falling In Love, with both the slowed-down, more atmospheric arrangement and the combination of soaring voices giving the well-known song a stirring, fresh quality.
The Johannesburg Festival Orchestra provide flawless backing for Bocelli and his guests throughout, exploding any remaining imposter syndrome that locals might feel about the quality of local cultural institutions. The massed vocals of the choir and graceful contributions from members of Mzanzi Ballet add yet more colour to proceedings.
Bocelli is the strong thread that connects all of the facets of the concert and, though not one for banter, his warmth and presence is as effective as his voice – still magnificent and still supported by mysteriously effortless breath control – in making everyone in the audience feel thrilled to have been in the room for this event. Closing with Nessun Dorma, one of the most remarkable pieces of music in history, completely cements that feeling.
