'Nabucco' (2021)
Opening thoughts: It is very easy to see why 'Nabucco' was Verdi's first big success, and one of his better early-period operas (pre-'Rigoletto'). The story is not the most compelling or concise of his operas, some of it has obsolete and static drama, and Ishmaele and Fenena are very underwritten characters. However, it is notable for the father/daughter relationship between Nabucco and Abigaille, the meaty role of Abigaille and of course the glorious music (especially "Dio Di Guida", the big confrontation between Nabucco and Abigaille and one of Verdi's finest choruses in "Va Pensiero").
Other than my love for opera and Verdi in general, my main reason for seeing this production was Placido Domingo. Sure, he is well past his best and his performances in baritone roles have very hit and miss (Simon Boccanegra being an example of a hit and Count Di Luna being one of a miss). In his prime, which was the 70s and 80s, he was to me one of the best operatic singers at that time and his partnership with another one of my favourites Sherrill Milnes (a fine Nabucco himself) is legendary. For me though, the production was an uneven one. Lots to admire musically but visually and staging wise it could and should have been more engaging.
Beginning with what could have been better, Domingo's performance itself is inconsistent. He is powerful emotionally in Nabucco's more tortured moments (particularly in Act 3) and the father daughter relationship is both moving and intense, but he is not regal enough surprisingly and sounds underpowered, hesitant and like he was fighting illness.
For my tastes, the production is too dimly lit, minimalistic sets can be striking but they seemed too sparse and over simple here and time and place was difficult to discern. The staging can be too stand and deliver and too much like a concert. The mirrors were striking visually, but pointless.
Good things: However, a lot is good. For one thing, there is a wonderful chorus, "Va Pensiero" is sublime in every way and the highlight of the production. Loved its simplicity and found it very moving. The orchestral playing is rousing and nuanced, especially in the choruses and the hair raising father daughter confrontation. All thanks to Marco Armiliato's conducting, which is idiomatic, energetic and sympathetic.
Another major asset is Anna Pirozzi's fearless Abigaille (the best and most consistent performance of the production), she is thrilling vocally with great musicality. She is frightening intensity when ought, which made up for some basic acting early on. Riccardo Zanellato is a noble Zaccaria, likes his warm tone, and Szilvia Voros is an expressive Fenena. Freddie Di Tomaso is a virile Ismaele, though he occasionally tries too hard. There is good work in the smaller roles.
Closing thoughts: Uneven but with lots to admire.
6/10.
