'Simon Boccanegra' is not one of Verdi's best overall (do prefer 'La Traviata', 'Otello', Don Carlo' and 'Rigoletto'), but it is always worth hearing and seeing at least once and one of his better late middle period operas. Story-wise, it is convoluted (not quite 'Il Trovatore' convoluted though), with an implausible plot wise. Musically however, it is just wonderful and contains some of his most beautiful music from his latter operas. Plus it has the very complex titular character.This is a worthy 'Simon Boccanegra', if more musically than in staging. Am far more used to traditional stagings of the opera, it is hard to beat the wonderful Met productions, and do prefer them, but actually 'Simon Boccanegra' fared better than expected modernised (despite its specific time period). Was worried about it working in a modern setting and also am not a fan of Valery Gergiev's few previous attempts at Verdi (i.e. The Requiem with a taxed Andrea Boccelli), but have liked the cast in other things (particularly Rene Pape).It is not a perfect production. Did think that the stage direction was too safe, it doesn't really do much that is distinctive or innovative (when this reviewer thinks of this done well in the past decade or so she thinks of how well fleshed out the character writing and relationships were in David McVicar's Metropolitan Opera 'Il Trovatore', which is not an easy feat) and doesn't always do enough to make the events of the prologue and too much of the last act clearer. There are definitely strong moments here, but they don't come consistently here.While it is all present and correct and there is nothing distasteful, the more modern touches like everything with the mobile phones use were distracting and too on the gimmicky side. The last act could have done with more intensity.However, a lot is done really well. While there could have been more variety vocally and the angrier moments at times felt held back, Luca Salsi does give an impressive account of himself in the title role. He sings warmly and nobly, and there is some lovely soft singing in the big father-daughter big scene. On the whole, he is fine dramatically. Very moving as a father figure and a noble authoritative presence as a political leader. Pape also sings with rich warmth and is formidable as Fiesco, with his chemistry with Salsi at the end of the last act being very touching. Marina Rebeka is an incasdescent and heartfelt Amelia, with high notes that are not shrill or out of tune unsteady. Charles Castranovo's Adorno is vibrant vocally and ardent, heroic and sympathetic. Andre Heyboer is a menacing Paolo.Visually, the modern setting is stylish and tasteful and transitions from scene to scene are smooth with none of the momentum being affected. The orchestral playing is both richly powerful and nuanced, very much like a character itself. The chorus blend beautifully and there is little static about their acting. Gergiev's conducting surprised me and is a far cry from his under-prepared and leaden conducting in the disappointing Met production of 'Der Fliegende Hollander', instead it is flexible and precise while also forceful.All in all, very worthy in a good way. 7/10.