This is in my top five Verdi operas, and I'm sorry that I wasn't sufficiently organised to go and see the simulcast. I've seen it quite a few times on stage, at Covent Garden, Glyndebourne and elsewhere. One or two comments on Barbara's post:
"Not a single aria for the title character"? Hmm! What about his "Plebe! Patrizi! Popolo!" in the Council Chamber scene? That's as much of an aria as, say Iago's Credo or Falstaff's "Tutto nel mondo è burla". The ending ("E vo' gridando 'pace', e vo' gridando amor", with the chorus and other soloists coming in with a Big Tune) is one of a number of emotional moments, for me at least. Others are the postlude to "Il lacerato spirito" (I was amazed that the Met audience didn't interrupt it with applause - kudos to the director), the scene where Boccanegra discovers that Amelia is his long-lost daughter, his reminiscence of his seafaring life ("Il mare, il mare" to the accompaniment of the sounds of the sea in the orchestra) when he's beginning to feel the effects of the poison, and the opera's ending.
I agree about the the scene in which Boccanegra told Paolo he could not marry Amelia. However, I doubt if this is Boito's fault - the libretto was written by Piave about 25 years before Boito got his hands on it, and the opera premiered in 1857, after La Traviata and before Un Ballo in Maschera. Boito wrote the whole of the Council Chamber scene, and the music for it is as good as anything in Otello or Falstaff (the revised version premiered in 1881, after Aida) but elsewhere there was only some retouching and rearranging and not a lot of new music, as I understand it.
I heard the broadcast on the radio. Domingo sounded fine (and very Domingoesque), but I had some problems with other singers - the tenor was off-pitch initially and you could drive a coach and horses through James Morris's wobble (though Ramey or Plishka these days would have been worse!). But listening on the radio isn't at all the same as seeing it in the theatre (or cinema), so don't let me put anyone off.
They're doing this at Covent Garden soon, with Domingo, but they've upped the prices to a level that even I am reluctant to pay, and a trip to London and overnight stay isn't cheap either. (However, I'm doing exactly that, at a much lower cost, to see Prokofiev's The Gambler next Monday.)