| Information Lyrics Mp3s Sheetmusic Video | Giuseppe VerdiNabuccoOpera 1842. Time: 139'30.Nabucodonosor. Opera in 4 parts. After the play Nabucodonosor by Anicet-Bourgeois and Francis Cornue. |
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Nabucco (short for Nabucodonosor, English Nebuchadnezzar) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on the biblical story and the play by Anicet-Bourgeois and Francis Cornu. It is Verdi’s third opera and the one which is considered to have permanently established his reputation as a composer. Nabucco follows the plight of the Jews as they are assaulted and subsequently exiled from their homeland by the Babylonian King Nabucco (in English, Nebuchadnezzar). Its first performance took place on 9 March 1842 at the Teatro alla Scala, Milan under the original name. The definitive name for the opera and the protagonist were attributed at a performance at the San Giacomo Theatre of Corfu, in September, 1844.[1]
Performance historyThe best-known number from the opera is the "Chorus of the Hebrew Slaves", Va, pensiero, sull'ali dorate / "Fly, thought, on golden wings", a chorus which is regularly given an encore when performed today, but until mid-2008 (with encores during La fille du regiment), it is the only encore the Metropolitan Opera has ever allowed[citation needed]. The soprano role of Abigaille is unique in that it has been the downfall of a number of singers. Elena Souliotis and Anita Cerquetti sang it before they were ready, and its high tessitura ruined their voices. Maria Callas sang it only three times and only a live performance from 1949 was recorded. Leontyne Price and Joan Sutherland refused to sing it. While no soprano has become known as a "great Abigaille", Ghena Dimitrova (1941 – 2005) was a notable exponent of the role. While not regularly performed, Nabucco has been part of the Metropolitan Opera's roster since it was first presented there during 1960/61 season. It is the only early Verdi opera apart from Ernani and Luisa Miller which has received regular performances at the Met in recent times, having been presented in 2001, 2003, 2004, and 2005. Other companies have given it, including San Francisco Opera (1982), and in 1995 it appeared as part of the Sarasota Opera's "Verdi Cycle".[2] Critical reactionVerdi commented that, "with this opera, my artistic career may be said to have begun". Nabucco was an instant success, dominating Donizetti's and Pacini's operas playing nearby. While the public went mad with enthusiasm, the critics tempered their approval of the opera. Amusingly, one critic who found Nabucco revolting was Otto Nicolai, the composer to whom the libretto was first offered. A thoroughly Prussian-bred man, Nicolai felt at odds with emotional Italian opera while he lived near Milan. After refusing to accept the libretto proposal from Merelli, Nicolai began work on another offer called Il Proscritto. Its disastrous premiere in March 1841 forced Nicolai to cancel his contract with Merelli and flee to Vienna. From there he learned of the success of Nabucco and was enraged. "Verdi's operas are really horrible," he wrote. "He scores like a fool — technically he is not even professional — and he must have the heart of a donkey and in my view he is a pitiful, despicable composer ... ". Additionally, he described Nabucco as nothing but "rage, invective, bloodshed and murder." Nicolai's opinions were in the minority, however, and he has today become comparatively obscure. Nabucco secured Verdi's success until his retirement from the theatre, twenty-nine operas (including some revised and updated versions) later. Music historians have long perpetuated a powerful myth about the famous Va, pensiero chorus sung in the third act by the Hebrew slaves. Scholars have long believed the audience, responding with nationalistic fervor to the slaves' powerful hymn of longing for their homeland, demanded an encore of the piece. As encores were expressly forbidden by the government at the time, such a gesture would have been extremely significant. However, recent scholarship puts this and the corresponding myth of Va, pensiero as the national anthem of the Risorgimento, to rest. Although the audience did indeed demand an encore, it was not for "Va, pensiero" but rather for the hymn "Immenso Jehova," sung by the Hebrew slaves to thank God for saving his people. In light of these new revelations, Verdi's position as the musical figurehead of the Risorgimento has been correspondingly downplayed.[3] Roles
SynopsisAct 1: Jerusalem
Interior of the Temple of Jerusalem The Jews are being defeated and Nabucco (Nebuchadnezzar) is poised to enter Jerusalem. The High Priest Zaccaria tells the people not to despair but to trust in God: D'Egitto là su i lidi / "On the shores of Egypt He saved the life of Moses". The presence of a hostage, Fenena, younger daughter of Nabucco, may yet secure peace (Aria: Come notte a sol fulgente / "Like darkness before the sun, like dust before the wind"). Zaccaria entrusts Fenena to Ismaele, nephew of the King of Jerusalem and a former envoy to Babylon. Although Fenena and Ismaele love each other, when they are left alone, Ismaele urges her to escape rather than risk her life. Nabucco's elder daughter, Abigaille, storms into the temple with soldiers in disguise. She, too, loves Ismaele. Discovering the lovers, she threatens Ismaele: if he does not give up Fenena, Abigaille will accuse her of treason. The King himself enters (Viva Nabucco / "Long live Nabucco"). Zaccaria defies him, threatening to kill Fenena with a dagger. Ismaele intervenes to save her. Nabucco responds by ordering the destruction of the temple, and the Jews curse Ismaele as a traitor. Act 2: The Unbeliever
Scene 1: The Palace in Babylon Nabucco is away at the wars and has appointed Fenena as regent. Abigaille has discovered a document that proves she is not Nabucco's real daughter, but a slave (Aria: Anch'io dischiuso un giorno / "I too once opened my heart to happiness"). The High Priest of Baal, accompanied by the Magi, comes to tell Abigaille that Fenena has released the Jewish captives. Their response is to launch a coup to put Abigaille on the throne, while spreading a rumour that Nabucco has died in battle, and they leave Abigaille to sing the cabaletta: Salgo già del trono aurato / "I am ready to ascend the bloodstained seat of the golden throne"). Scene 2: A hall in the Palace in Babylon Accompanied by a cello sextet, Zacharia awaits Fenena (Vieni, o Levita / "Bring the tables of the law"). She converts to the Jewish religion, and Ismaele is reconciled to the Jews. However, it is announced that the King is dead and Abigaille and the High Priest of Baal demand the crown from Fenena. Unexpectedly, Nabucco himself enters, scorning both sides, both Baal and the Hebrew god that he has defeated. He declares himself God. When Zaccaria objects, Nabucco orders the Jews to be put to death. Fenena says that she will share their fate. Repeating that he is now god: Non son piu re, son dio / "I am no King! I am God!"), Nabucco is promptly hit by a thunderbolt and loses his senses. The crown falls and is picked up by Abigaille. Act 3: The Prophecy
Scene 1: The Hanging Gardens of Babylon The High Priest of Baal presents Abigaille with the death decree for the Jews and Fenena. Nabucco enters looking like a mad man, claiming his throne. Abigaille persuades him to seal the decree, but he asks that Fenena be saved. He tells Abigaille that she is not his true daughter but a slave. Abigaille mocks him, destroying the document with the evidence of her true origins. Understanding that he is now a prisoner, he pleads for Fenena's life. (Duet: Oh di qual onta aggravasi questo mio crin canuto / "Oh what affront I must suffer in my old age"). Abigaille exults. Scene 2: Banks of the River Euphrates The Jews long for their homeland: Va pensiero, sull'ali dorate / "Fly thought on golden wings; Fly and settle on the slopes and hills"). Zaccaria once again exhorts them to have faith: God will destroy Babylon. Act 4: The Shattered Idol
Scene 1: The Palace in Babylon Scene 2: The Hanging Gardens of Babylon This synopsis by Simon Holledge was first published on Opera japonica http://www.operajaponica.org and appears here by permission. OrchestrationNabucco is scored for two flutes (one doubling as piccolo), two oboes (one doubling as English horn), two clarinets, two bassoons, four horns, two trumpets, three trombones (two tenor, one bass), one cimbasso, timpani, bass drum, cymbals, side drum, triangle, two harps, strings, and an onstage band. Selected recordings
Notes
The average performance time is 2 hours, 15 minutes plus one intermission. References
External links
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