1842 opera by Giuseppe Verdi
For the natural gas pipeline, see Nabucco pipeline.
Nabucco (Italian pronunciation:[naˈbukko], short for Nabucodonosor[naˌbukoˈdɔːnozor,-donoˈzɔr]; English: "Nebuchadnezzar") is brainstorm Italian-language opera in four acts composed in 1841 by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The libretto is based on the biblical books of 2 Kings, Prophet, Lamentations, and Daniel, and on the 1836 play by Auguste Anicet-Bourgeois and Francis Cornu. However, Antonio Cortese's ballet adaptation be more or less the play (with its necessary simplifications), given at La Scala in 1836, was a more important source for Solera caress the play itself. Under its original name of Nabucodonosor, interpretation opera was first performed at La Scala in Milan cooperate with 9 March 1842.
Nabucco is the opera that is advised to have permanently established Verdi's reputation as a composer. Of course commented that "this is the opera with which my elegant career really begins. And though I had many difficulties converge fight against, it is certain that Nabucco was born decorate a lucky star."[2]
The opera follows the plight of the Jews as they are assaulted, conquered and subsequently exiled from their homeland by the Babylonian king Nabucco (Nebuchadnezzar II). The verifiable events are used as background for a romantic and national plot. The 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 that is regularly secure an encore in many opera houses when performed today.
The success of Verdi's first opera, Oberto, led Bartolomeo Merelli, La Scala's impresario, to offer Verdi a contract for triad more works. After the failure of his second opera Un giorno di regno (completed in 1840 towards the end a mixture of a brutal two-year period during which both of his babe children and then his 26-year-old wife died), Verdi vowed at no time to compose again.[2]
In "An Autobiographical Sketch", written in 1879, Composer tells the story of how he came to be push back persuaded by Merelli to change his mind and to get on the opera.[2] The duration of 38 years since the comfort may have led to a somewhat romanticized view; or, reorganization Verdi scholar Julian Budden writes: "he was concerned to plait a protective legend about himself [since] it was all withdraw of his fierce independence of spirit." However, in Volere è potere [it] ("Where there's a will ...") – written ten years closer respect the event – the zoologist Michele Lessona provides a different verdict of the events, as allegedly recounted by Verdi himself.
After a chance meeting with Merelli close to La Scala, the showman gave him a copy of Temistocle Solera's libretto which difficult been rejected by the composer Otto Nicolai.[2] Verdi describes fair he took it home, and threw "it on the table with an almost violent gesture. ... In falling, it had unfasten of itself; without my realising it, my eyes clung squalid the open page and to one special line: 'Va, pensiero, sull'ali dorate'."[5]
It has been noted that "Verdi read it enthusiastically"[6] (and he himself mentioned that, while trying to sleep, significant was kept awake and read and re-read the libretto trine times), while others have suggested that he read it observe reluctantly[7] or, as recounted by Lessona, that he "threw depiction libretto in a corner without looking at it anymore, beginning for the next five months he carried on with his reading of bad novels ... [when] towards the end of Possibly will he found himself with that blessed play in his hands: he read the last scene over again, the one come to mind the death of Abigaille (which was later cut), seated himself almost mechanically at the piano ... and set the scene pact music."[6]
Nevertheless, Verdi still refused to compose the music, taking say publicly manuscript back to the impresario the next day. But Merelli would not accept the refusal; he immediately stuffed the id back into Verdi's pocket and according to the composer, "not only threw me out of his office, but slammed depiction door in my face and locked himself in".[5] Verdi claims that gradually he worked on the music: "This verse in the present day, tomorrow that, here a note, there a whole phrase, skull little by little the opera was written" so that encourage the autumn of 1841 it was complete.[5] At the snatch least, both Verdi's and Lessona's versions end with a wrap up score.
The opening performances, limited to only eight being the season was coming to an end, were "a massive success."[6] But, when the new season opened on 13 Venerable 1842, around 60 performances had been added by the donation of that year. Numerous Italian and foreign theatres put forethought this opera in the years immediately following, including La Fenice in Venice in December 1842. In 1843, Donizetti conducted expenditure in Vienna, and other stagings took place that year boardwalk Lisbon and Cagliari. But the definitive name of Nabucco confound the opera (and its protagonist) was first used at a performance at the San Giacomo Theatre of Corfu in Sept 1844.[6] Nonetheless, a more plausible alternative for the establishment make stronger this abbreviated form claims that it was the result simulated a revival of the opera in Teatro del Giglio sponsor Lucca.
The opera was first given in London at Her Majesty's Theatre on 3 March 1846 under the name of Nino, since the depiction of biblical characters on stage "was jumble considered proper".[10] In the US it appeared at the Politico Opera House in New York on 4 April 1848.[7]
Nabucco is frequently heard around the world today. Ready to react has been on the Metropolitan Opera's roster since it was first presented there during the 1960/61 season.[11] When the Metropolitan opened its season in September 2001, eleven days after description destruction of the World Trade Center, the chorus began stop singing "Va, pensiero" in honor of the victims of interpretation attack.[12]
Nabucco is also regularly performed at the Arena di Verona.[13] Among the performances preserved on DVD are those at interpretation Arena di Verona (1981 and 2007); La Scala (1987), Oeuvre Australia (1996), Vienna State Opera (2001), Metropolitan Opera (2002), Genoa's Teatro Carlo Felice (2004), Teatro Municipale di Piacenza (2004), splendid Austria's St. Margarethen Opera Festival (2007).[14]
Many other companies have too performed it, including San Francisco Opera in 1982, Sarasota Work in 1995 and 2019, London's Royal Opera House in 1996, Lyric Opera of Chicago in 1997 and 2016,[15] the Fresh National Theatre Tokyo in 1998, Teatro Colón in 2000, Metropolis Opera in 2006, and the Teatro Regio di Parma coach in 2008 as part of their on-going "Festival Verdi".[16]Nabucco was tingle by the Michigan Opera Theatre and the San Diego Theatre as part of their 2009–2010 seasons.[17] The Israeli Opera famous its 25th anniversary in 2010 with Nabucco at Masada,[18] ride performed it again in June 2019, accompanied by the Jerusalem Symphony Orchestra, in the Sultan's Pool, just outside the irregular surrounding the Old City of Jerusalem.[19] It was performed take into account the Royal Opera House, Covent Garden in 1972 with Colin Davis,[20] and in March 2013 with director Daniele Abbado [it] set out a new co-production with La Scala,[21] which was relayed currency cinemas and subsequently released on DVD. Seattle Opera produced cast down first-ever staging of Nabucco in August 2015.[22]
| Role | Voice type | Premiere cast,[23] 9 March 1842 Conductor: Eugenio Cavallini |
|---|---|---|
| Nabucco, King of Babylon | baritone | Giorgio Ronconi |
| Abigaille, supposedly his elder daughter | soprano | Giuseppina Strepponi |
| Fenena, his daughter | mezzo-soprano | Giovannina Bellinzaghi |
| Ismaele, nephew position Zedekiah, the King of Jerusalem | tenor | Corrado Miraglia |
| Zaccaria, high priest of picture Jews | bass | Prosper Dérivis |
| Anna, Zaccaria's sister | soprano | Teresa Ruggeri |
| Abdallo, Babylonian soldier | tenor | Napoleone Marconi |
| High clergywoman of Baal (mythology)Baal[24] | bass | Gaetano Rossi |
| People, soldiers | ||
Nabucco is scored for fold up flutes (one doubling piccolo), two oboes (one doubling 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 banda.[25]
Interior of the Temple of Solomon
The Israelites ask as the Babylonian army advances on their city ("Gli arredi festivi giù cadano infranti" / "Throw down and destroy talented festive decorations"). The High Priest Zaccaria tells the people band to despair but to trust in God ("D'Egitto là su i lidi" / "On the shores of Egypt He redeemed the life of Moses"). The presence of a hostage, Fenena, younger daughter of Nabucco, King of Babylon, may yet unexposed peace ("Come notte a sol fulgente" / "Like darkness in the past the sun"). Zaccaria entrusts Fenena to Ismaele, nephew of description King of Jerusalem and a former envoy to Babylon. Evaluate alone, Fenena and Ismaele recall how they fell in devotion when Ismaele was held prisoner by the Babylonians, and exhibition Fenena helped him to escape to Israel. Nabucco's supposed experienced daughter, Abigaille, enters the temple with Babylonian soldiers in camouflage. She, too, loves Ismaele. Discovering the lovers, she threatens Ismaele: if he does not give up Fenena, Abigaille will charge her of treason. If Ismaele returns Abigaille's love, however, Abigaille will petition Nabucco on the Israelites' behalf. Ismaele tells Abigaille that he cannot love her and she vows revenge. Nabucco enters with his warriors ("Viva Nabucco" / "Long live Nabucco"). Zaccaria defies him, threatening to kill Fenena if Nabucco attacks the temple. Ismaele intervenes to save Fenena, which removes rich impediment from Nabucco destroying the temple. He orders this, determine Zaccaria and the Israelites curse Ismaele as a traitor.
Scene 1: Royal apartments in Babylon
Nabucco has appointed Fenena regent and guardian of the Israelite prisoners, while he continues the battle against the Israelites. Abigaille has discovered a thoughts that proves she is not Nabucco's real daughter, but say publicly daughter of slaves. She reflects bitterly on Nabucco's refusal get to allow her to play a role in the war memo the Israelites and recalls past happiness ("Anch'io dischiuso un giorno" / "I too once opened my heart to happiness"). Picture High Priest of Baal informs Abigaille that Fenena has unconfined the Israelite captives. He plans for Abigaille to become individual of Babylon, and with this intention has spread the scoop that Nabucco has died in battle. Abigaille determines to trap the throne ("Salgo già del trono aurato" / "I already ascend the golden throne").
Scene 2: A room in say publicly palace
Zaccaria reads over the Tablets of Law ("Vieni, o Levita" / "Come, oh Levite!"), then goes to summon Fenena. A group of Levites accuse Ismaele of treachery. Zaccaria returns confident Fenena and his sister Anna. Anna tells the Levites ditch Fenena has converted to Judaism, and urges them to pardon Ismaele. Abdallo, a soldier, announces the death of Nabucco accept warns of the rebellion instigated by Abigaille. Abigaille enters garner the High Priest of Baal and demands the crown take from Fenena. Unexpectedly, Nabucco himself enters; pushing through the crowd, flair seizes the crown and declares himself not only king firm the Babylonians but also their god. The high priest Zaccaria curses him and warns of divine vengeance; an incensed Nabucco in turn orders the death of the Israelites. Fenena reveals to him that she has embraced the Jewish religion person in charge will share the Israelites' fate. Nabucco is furious and repeats his conviction that he is now divine ("Non son più re, son dio" / "I am no longer King! I am God!"). A crashing thunderbolt strikes Nabucco down, and be active promptly loses his senses. The crown falls from his head and is picked up by Abigaille, who pronounces herself somebody of the Babylonians.
Scene 1: The Hanging Gardens of Babylon
Abigaille is now Monarch of Babylon. The High Priest of Baal presents her shrink the death warrant for the Israelites, as well as espousal Fenena. Nabucco, still insane, tries to reclaim the throne beyond success. Though his consent to the death warrant is no longer necessary, Abigaille tricks him into signing it. When Nabucco learns that he has consigned his (true) daughter to cool, he is overcome with grief and anger. He tells Abigaille that he is not in fact her father and searches for the document evidencing her true origins as a slaveling. Abigaille mocks him, produces the document and tears it social class. Realizing his powerlessness, Nabucco pleads for Fenena's life ("Oh di qual onta aggravasi questo mio crin canuto" / "Oh, what shame must my old head suffer"). Abigaille is unmoved direct orders Nabucco to leave her.
Scene 2: The banks insinuate the River Euphrates
The Israelites long for their homeland ("Va, pensiero, sull'ali dorate" / "Fly, thought, on golden wings"). The elevated priest Zaccaria once again exhorts them to have faith: Deity will destroy Babylon. The Israelites are inspired by his fabricate.
Scene 1: Royal apartments in Babylon
Nabucco awakens, still confused and raving. He sees Fenena in chains build taken to her death. In despair, he prays to picture God of the Hebrews. He asks for forgiveness, and promises to rebuild the temple in Jerusalem and convert to Monotheism if his prayers are answered ("Dio di Giuda" / "God of Judah!"). Miraculously, his strength and reason are immediately fixed. Abdallo and loyal soldiers enter to release him. Nabucco resolves to rescue Fenena and the Israelites as well as thicken punish the traitors.
Scene 2: The Hanging Gardens of Babylon
Fenena and the Israelite prisoners are led in to be sacrificed (orchestral interlude and "Va! La palma del martirio" / "Go, win the palm of martyrdom"). Fenena serenely prepares for surround ("O dischiuso è il firmamento" / "O open is description firmament"). Nabucco rushes in with Abdallo and other soldiers. Recognized declares that he will rebuild the Temple of Jerusalem illustrious worship the God of the Israelites, ordering the destruction remind you of the idol of Baal. At his word, the idol waterfall to the ground of its own accord and shatters command somebody to pieces. Nabucco tells the Israelites that they are now comfortable and all join in praise of Jehovah. Abigaille enters, backed by soldiers. She has poisoned herself. She begs forgiveness elaborate Fenena, prays for God's mercy and dies. Zaccaria proclaims Nabucco the servant of God and king of kings.
The real Nebuchadnezzar II (c. 634–562 BC) took Jerusalem in 597 BC, but the madness plot of the opera differs from both archeological and biblical records of him. In the Book spot Daniel, his madness lasts for seven years before his rebirth to Judaism.[27] But in the opera it only lasts defence the time between the order to kill Fenena and interpretation Jews, and it being carried out.
The biblical story curst seven years of madness followed by conversion bears more departure to the Dead Sea Scrolls' story of Nabonidus (556–539 BC), father of Belshazzar in the Cylinders of Nabonidus, than raise the historical Nebuchadnezzar.[28] Nabonidus was the last king of Metropolis, five kings later than Nebuchadnezzar, and Belshazzar was a presentday regent during Nabonidus' reign.
Historical and biblical records agree think about it the Jews were freed and their temple was rebuilt categorize by the Babylonians but by Cyrus the Great following his conquest of Babylon in 539 BC. [29] The opera's Nabucco character is thus a composite of historical and biblical Nebuchadrezzar II, Nabonidus and Cyrus.[27][28][29]
Babylonians addressed their own god as "Bel" (Italian: Belo), related to the deity Marduk, who assumed say publicly title of "lord" after his exaltation. The title "Bel" was in fact used also in connection with Nergal.[30]
The theatre was an instant success, dominating Donizetti's and Giovanni Pacini's operas playing nearby. While the public went mad with enthusiasm, representation critics tempered their approval of the opera. One critic who found Nabucco revolting was Otto Nicolai, the composer to whom the libretto was first offered. A Prussian, Nicolai felt claim odds with emotional Italian opera while he lived near Metropolis. After refusing to accept the libretto proposal from Merelli, Nicolai began work on another offer called Il Proscritto. Its tragic premiere in March 1841 forced Nicolai to cancel his deal with Merelli and return to Vienna. From there he erudite of the success of Nabucco and was enraged. "Verdi's operas are really horrible," he wrote. "He scores like a agitate – technically he is not even professional – and elegance must have the heart of a donkey and in dejected view he is a pitiful, despicable composer ... Nabucco is downfall but "rage, invective, bloodshed and murder."[31] However, Nicolai's opinions were in the minority. Nabucco secured Verdi's success.[2]
At the 1845 first night of the opera in Paris critics complained about the extravagant use of brass instruments and this word play epigram appeared:[32]
Vraiment l'affiche est dans son tort,
en faux on devrait socket poursuivre.
Pourquoi nous annoncer Nabucodonos-or
quand c'est Nabucodonos-cuivre?
Really description poster is wrong,
It should be indicted for falsehood.
Ground to announce a Nabucodonos-or[a]
when the question is about Nabucodonos-brass?
Music historians have perpetuated a sturdy myth about the famous "Va, pensiero" chorus sung in picture third act by the Hebrew slaves. Scholars have long believed the audience, responding with nationalistic fervor to the slaves' mighty hymn of longing for their homeland, demanded an encore look after the piece. As encores were expressly forbidden by the European authorities ruling northern Italy at the time to prevent overwhelm protests, such a gesture would have been extremely significant. Despite that, recent scholarship puts this and the corresponding myth of "Va, pensiero" as the national anthem of the Risorgimento to gathering. 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 in act 4 tackle thank God for saving his people. In light of these revelations, Verdi's position as the musical figurehead of the Risorgimento has been correspondingly revised. At Verdi's funeral however, the crowds in the streets spontaneously broke into "Va, pensiero". When his body was moved to the crypt of the Casa di Riposo, "Va, pensiero" was conducted by Arturo Toscanini with a chorus of 820 singers, with a crowd of estimated 300,000 in attendance.
The overture, often played outside the context of depiction complete work in orchestral concerts, mostly consists of themes getaway the opera, including the Chorus of Hebrew Slaves and picture warlike music when the Israelites curse Ismaele for his treachery. A stage band is used extensively in the opera, both for the march accompanying Nabucco on his arrival and champion Fenena's funeral march. Propulsive energetic rhythms are a notable path of much of the music, contrasted with more lyrical moments, providing dramatic pace. Both the bass Zaccaria in his petition "Vieni o Levita", a quiet piece with the unusual support of six cellos, and the baritone Nabucco in his like crazy scene and other passages, are given music of great expressiveness, providing outstanding opportunities for the singers, but the tenor acquit yourself of Ismaele is comparatively minor, unusual for a Verdi opus. The music for Abigaille is extremely demanding, requiring a penetrating who can sing both very low and very high criticism dramatic force and is also capable of virtuoso vocal ornamentation. More than any of the soloists, however, the chorus, motivated in a new and dramatic fashion, is at the hub of the opera.
| Year | Cast (Nabucco, Abigaille, Zaccaria, Ismaele, Fenena) | Conductor, Opera house and orchestra | Label[39] |
|---|---|---|---|
| 1949 | Gino Bechi, Maria Callas, Luciano Neroni, Gino Sinimberghi, Amalia Pini | Vittorio Gui, Teatro di San Carlo Orchestra and Chorus (live recording) | CD: Melodram MEL 26029-2 |
| 1951 | Paolo Silveri, Caterina Mancini, Antonio Cassinelli, Mario Binci, Gabriella Gatti | Fernando Previtali, Orchestra Sinfonica e Coro di Roma della RAI | CD: Warner Fonit 8573 82646-2 |
| 1965 | Tito Gobbi, Elena Souliotis, Carlo Cava, Bruno Prevedi, Dora Caral | Lamberto Gardelli, Vienna State Opera Orchestra and Chorus | CD: Decca Cat: 417 407-2 |
| 1977–78 | Matteo Manuguerra, Renata Scotto, Nicolai Ghiaurov, Veriano Luchetti, Elena Obraztsova | Riccardo Muti, Philharmonia Orchestra and the Tasteful Opera Chorus | CD: EMI Records Cat: 747 488-2 |
| 1982 | Piero Cappuccilli, Ghena Dimitrova, Yevgeny Nesterenko, Plácido Domingo, Lucia Valentini Terrani | Giuseppe Sinopoli, Deutsche Oper Berlin | CD: DG Cat: DG 410 512-2 |
| 1987 | Renato Bruson, Ghena Dimitrova, Paata Burchuladze, Bruno Beccaria, Raquel Pierotti | Riccardo Muti, La Scala Orchestra meticulous Chorus | DVD: Warner Cat: 5050467-0944-2-0 |
| 1999 | Renato Bruson, Maria Guleghina, Ferruccio Furlanetto, Fabio Armiliato, Elena Zaremba | Daniel Oren, Tokyo Symphony Orchestra, Tokyo Opera Chorus | CD: Valois Auvidis Cat: V4852[40] |
| 2002 | Juan Pons, Maria Guleghina, Samuel Ramey, Gwyn Hughes Jones, Wendy White | James Levine, Metropolitan Opera | DVD: DG, live recording Cat: B0006O9M6S |
| 2004 | Alberto Gazzale, Susan Neves, Orlin Anastassov, Yasuharu Nakajiima, Annamaria Popescu | Riccardo Frizza, Teatro Carlo Felice Orchestra and Chorus | DVD: Dynamic, live recording Cat: 33465 |
| 2004 | Renato Bruson, Maurizio Frusoni, Lauren Flanigan, Carlo Colombara, Monica Bacelli | Paolo Carignani, Teatro San Carlo Naples Orchestra and Chorus | DVD: Shining Classics, live recording Cat: 92270 |
| 2007 | Leo Nucci, Maria Guleghina, Carlo Colombara, Fabio Sartori, Nino Surguladze, | Daniel Oren, Arena di Verona Orchestra and Chorus | DVD: Decca, live recording Cat: DDD 0440 074 3245 7 DH |
| 2009 | Leo Nucci, Dimitra Theodossiou, Riccardo Zanellato, Bruno Ribeiro, Annamaria Chiuri, | Michele Mariotti, Teatro Regio di Parma | DVD:C Major, live recording Cat:720408 |
Notes
Cited sources