The Met Opera Chorus in "Nabucco" (photo: Met Opera) |
Nabucco,
Giuseppe Verdi's most political
opera, has become one of the Metropolitan Opera's most popular works
in its repertoire, in large part due to the prominence given in this
opera to the always-reliable Metropolitan Opera Chorus, under its
Chorus Master Donald Palumbo. A piece first composed in 1841 in
Italian, to a Libretto by Temistocle Solera, based on the Old
Testament Books of Jeremiah and Daniel, Nabucco,
only Verdi's third opera, was a hit from its inception. The story
concerns the capture of the Jews and their exile to Babylon by King
Nebuchadnezzar (which occurred in 587 B.C.E.).
The opera consists of four acts, which the Met performs
in two acts with one intermission. In Act I, Jerusalem: Nabucco (tenor Placido
Domingo) is attacking Jerusalem where his daughter Fenena (mezzo
Jamie Barton) is held hostage by Ismaele, the Hebrew King's nephew
(tenor Russell Thomas). He had previously been freed by her from
being held captive himself in Babylon. Her half-sister Abigaille
(soprano Liudmyla Monastyrska), who also loves Ismaele, tells him she
can free the Hebrews if he professes love for her, but he refuses.
Nabucco then enters the city, confronted by Zaccaria (bass Dmitry
Belosselskiy), the Voice of the Hebrew people, who threatens to kill
Fenena, but Ismaele disarms him and returns her to her father.
Nabucco orders the temple destroyed. In Act II, The Impious One:
Abigaille, back in Babylon, learns that Nabucco is not her father
and that she is instead descended from slaves, so she swears
vengeance on him. The High Priest of Baal (bass Sava Vemic) offers to
give her the throne and spread word that Nabucco has died, so the
people proclaim her their ruler. As she is about to crown herself,
Nabucco arrives declaring himself king as well as god, for which he
is struck by a thunderbolt, leaving Abigaille triumphant.
In Act III, The Prophecy: Nabucco, half-mad, is
tricked by Abigaille into condemning the Israelites to death,
including Fenena who has converted to Judaism. The Israelites dream
of their former homeland in the famous “Chorus of the Hebrew
Slaves”, Va, pensiero, sull' ali dorate or Fly, Thought,
on golden wings. This, the most famous piece in the opera,
became a sort of national anthem and was spontaneously sung by crowds
that massed on the occasion of Verdi's funeral, since it had become a
symbol of Italy. (It was deservedly given an immediate encore at this
typically fine performance, to an enthusiastic reception). In Act IV,
Broken Idol : Nabucco prays (to the God of Israel, mind you)
forgiveness, pledging to convert himself and the people of Babylonia.
He stops the execution of the Hebrew slaves at the last minute and
frees them, as Abigaille swallows poison. The Israelites and
Babylonians unite in praise of the (Hebrew) God.
This performance was Conducted by James Levine, with the
2001 Production by Elijah Moshinsky, Stage Direction by J. Knighten
Smit (with HD Direction by Barbara Willis Sweete), Set Design by John Napier, Costume Design by Andreane
Neofitou and Lighting Design by Howard Harrison. The HD Broadcast
Host was Eric Owens (who noted during an intermission interview with
Domingo that this was the tenor's seventeenth Verdi role).
This production of Nabucco was excellently sung,
notably by opera fan favorite Domingo and new discovery Barton (who
impressed this critic in last summer's Glimmerglass Opera mounting of
The Crucible. But the afternoon truly belonged to the Met
Opera Chorus, who received a much-deserved standing ovation, that
over-used event that seems to occur at the opening of a local
supermarket. It was never more fitting than here, as, on a cold snowy
afternoon, the music warmed the packed theater and braced the audience for the
onslaught outside.
For those who may have missed this due to weather, there is an encore Weds. Jan.11 at 6:30pm.
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