By Diego Manuel García Pérez.En Valencia Palau de Les Arts, They have taken place six performances of Nabucco, the four first performed by Placido Domingo incombustible. Ya, for months that the tickets were sold out. Madrid tenor is a real media phenomenon, mobilizing crowds in each of their performances. A public come from around the world, with Japanese included, where they could see ladies wearing kimonos. The vocal state under the Madrid, and frisando the seventy-nine years, It matters little to these groups of enthusiastic fans, that they come with the premeditated idea applaud and show their admiration. To all this the fact that Domingo sing again in Spain was added, after being subjected to a wave of accusations of sexual harassment over thirty years ago, not having produced any legal complaint, but deteriorated figure this myth opera, to the point of having to give up their performances in the US and leave the artistic direction he held since 2001 Opera Los Angeles. In the representation I attended, I had the opportunity to converse with a critical come from Argentina, who told me with real sadness that the famous Teatro Colon in Buenos Aires, He had also vetoed his presence. Large European operatic centers continue supporting him, as it has been in the past Salzburg Festival, Miller performing Verdi's Luisa Miller, where he was strongly applauded, and also he received the tribute at the Teatro alla Scala in Milan, on the fiftieth anniversary of his debut at the theater, A few days later representations of Nabucco in Valencia, where the controversy about Sunday was served, as, in contrast to the enthusiasm of the audience inside the Palau de les Arts, for its presence and activities, had demonstrations outside rather than female groups carrying large banners, with the phrase "Nebuchadnezzar stalker". Regardless of these circumstances, Note that these functions Nabucco, apart from the presence of Placido Domingo, They had as big winner at Abigaile played by Neapolitan soprano Anna Pirozzi, who had already impressed the Valencian public with this same role, in the representations of Nabucco that took place in May 2015. The Orquesta de Valencia, well directed by Jordi Bernàcer, also shone high. Y, as usual, the Choir of the Generalitat Valenciana was a great success, in an opera as this where it has a very important presence, including the chorus "Va pensiero" the most famous and popular of the entire history of opera Italiana.Nabucco is the third opera composed by Verdi, Temistocle libretto by Solera, and its premiere took place at the Teatro alla Scala in Milan, he 9 March 1842, constituting a great success, to the point of being represented in that season and the next, in 57 occasions, something that had never happened before. Nabucco may be influenced by Donizetti and Bellini, but his vigorous melodies, with passionate vocal language, and they are typically verdianos. In this opera, and for the first time, Verdi gives great importance to the baritone, assigning the title role of Nabucco. Y, Abigaille -of the extreme difficulty- a dramatic soprano of agility, It is played at its premiere by Giuseppina Strepponi, destined to become sentimental companion of Verdi and his future wife. The role of Zaccaria (Great high priest of the Hebrews), It is also very important and requires a low rotund voice and great extension. After a few years when this opera was massively represented in Italian and European theaters, He fell somewhat forgotten, very rarely being programmed. Its American premiere took place at the Teatro Colon in Buenos Aires, in 1914. Nabucco true recovery was made by the master Vittorio Gui, in 1933, Teatro alla Scala in Milan, and also, that same year, transcurso en primer "Maggio Musicale Fiorentino", in both cases with two great singers Carlo Galeffi (Nabucco) y Gina Cigna (Abigail). Vittorio Gui also directed the famous performances, with a live recording- which they took place in December 1949, Teatro San Carlo in Naples, with the extraordinary creation of Abigaile by Maria Callas. The main pieces of this recording can be heard on YouTube. Ya, in 1951, on the occasion of the fiftieth anniversary of Verdi's death, RAI made a studio recording, directed by Fernando Previtali, with magnificent Abigaile de soprano Catherine Mancini, which can be heard integrated into Youtube. In 1960, Nabucco was first performed at the Metropolitan neoyorkino, played by the Austrian soprano Leonie Rysanek, with vocalism that demand Abigaile, although somewhat away from the style of singing verdiano. Along the Rysanek intervenían important you guys fully Verde: baritone Cornell MacNeill (Nabucco) and bass Cesare Siepi (Zaccaria). Elena Souliotis stunning vocalism and ephemeral career, Abigaile played in the sixties and seventies; Also the Bulgarian Ghena Dimitrova, It was an excellent Abigaile from the late sixties to the nineties. In 1968, He first played the character of Nabucco, the great baritone Renato Bruson, a real stylist singing, as it can be seen in its interpretation held at the Teatro Regio of Parma, in January 1979, Abigaile stunning along with our Angeles Gulin, died prematurely in 2004 (this year 2019 It has completed the eightieth anniversary of his birth). It is extraordinary to hear the great duo Nabucco and Abigaile in the voices of Gulin and Bruson, Available on YouTube. Renato Bruson will be the most important interpreter of Nabucco, for over thirty years. The Ukrainian soprano Maria Guleghina will become from the mid-nineties, in a reference to the character of Abigaile, by vocalism and great dramatic temperament. He first performed at the Paris Opera Bastille in 1995, Julia Varady alternating with, with a great cast that included great bass Samuel Ramey (Zaccaria), Jean François Lafont (Nabucco), Violeta Urmana (Fenena) and Jose Cura (Ismaele); Y, the next year, at the Arena of Verona with Renato Bruson (Full version video available on YouTube). From then until the most recent news, He has played on many occasions worldwide. Significantly making video DVD marketed by DGG in the Metropolitan neoyorkino, in 2001, James Levine direction, where Guleghina shared with Joan Pons cast (Nabucco) and Samuel Ramey. Fragments of this recording can be heard on Youtube. Overlapping Guleghina, arise in 2013, excelentes de dos interpretes Abigail: Anna Pizozzi at the Salzburg Festival, directed by Riccardo Muti (gran guarantor of this score), and the Ukrainian Liudmyla Monastyrska, Teatro alla Scala in, next to the magnificent Nabucco Leo Nucci, and that same year 2013, in Covent Garden, with Placido Domingo as Nabucco, and there is a live take marketed on DVD by SONY. Since then Pirozzi and Monastyrska, They are quite often played the character of Abigaile. Deutsche Opera Berlin scheduled Nabucco season 2019-2020, with alternating Maria Guleghina, Anna Pirozzi y Liudmila Monastyrska.
Nabucco production has been seen in the Palau de les Arts, It comes from the Washington National Opera in co-production with The Minnesota Opera and Opera Philadelphia, and has the stage direction and set design and costumes Thaddeus Strassberger Mattie Ullrich. This production aims to replicate what could be the Nabucco assembly when it premiered at the Teatro alla Scala, Here spiced with a proposal theater within the theater. Mediated long initial overture we see a number of couples dancing very Austrian nobles in the aesthetics of the film Il Gattopardo of Luchino Visconti, and later they began to occupy some boxes enabled to the left of the stage to contemplate the representation. They can also be soldiers guarding any hostile reaction from the Italian public to the Austrian nobility who then occupied Milan and all Lombardia. A stage decorated with a papier-mâché, friezes, mosaics and large columns, reproducing in Act I, Solomon's Temple in Jerusalem and in Act II, Palace in Babylon Nabucco, with a series of overlapping curtains that produce a real sense of depth scenic. In Act III, before the famous chorus "Va pensiero", action can be seen from behind the stage as if viewers were backstage. At the end of the performance the performers gather bouquets of flowers thrown by the Austrian public on stage, furiously returning them to the boxes and displaying two banners with the colors of the Italian flag and inscriptions, one in the "W", and the other the word VERDI, acronym which together they formed the words: Victor-Enmanuele live King of Italy (true symbol of Italian patriots against the Austrian domination). Costume design by Mattie Ullrich is in excess colorist for the Babylonians in contrast to the white hues of the Hebrews.
Proven leadership and strong, with large capacity concertmaster Jordi Bernàcer, the head of the Orchester de Valencia, which again proves to be a set of high quality, and this is evident from the excellent performance of the overture: a long page, articulated well full of contrasts, where different musical motifs and Iran reappearing long exposed opera, among them, -with the accompanying minor modifications- the famous chorus "Va pensiero". The orchestra has an outstanding performance, during the entire performance, shining in moments of intense lyricism: introduction and accompaniment of arias of Abigaille, Act II respectively and the closing of the opera, or Fenena's aria in Act IV. Y, by contrast, It shows an uncontrollable force, in the vibrant end of Act I, when Nabucco bursts onto the scene, whose recurring musical theme and exhibited in the overture, It is taken up in the orchestral introduction of Act III, and the coda of the final cabaletta performed by Nabucco, in his great scene of Act IV. Report also, the magnificent orchestral intervention Nabucco and Abigaille duet of Act III, and the overture to Act IV. At the direction of Jordi Bernàcer, It is blamed tendency to use sounds in forte. Finally, and in the high level offered by the members of the orchestra, include the splendid performance of severe rope especially the cellos, and the woods where they shine solo flute and oboe.
The big winner of these representations, ha sido Neapolitan soprano Anna Pirozzi, Abigaille who composes a great vocal and dramatic stature. voluminous voice and bright timbre, buen breath, excellent ability to regulate the sound, and a sharp, broad and well cast treble, (some extreme notes something forced), It is its weakest a limited range of serious. His voice stands out strongly in the moments of greatest orchestral forcefulness: the concluding concertantes of Acts I and II. It provides a good command of bel canto coloratura, and meets with expertise deviled octave jumps that punctuate much of their interventions. Makes a great performance in his big scene of Act II, initiated with violent recitative "Ben io t'inventi", to move to the lyrical and intimate singing the aria "Anch’ opened one day "y, then, show an overwhelming force in the cabaletta "Salgo già of the aurate throne". also highlights, his great performance in the duet with Nabucco Act III, inserting in its dialogues with a pleading Nabucco, a vibrant cabaletta, whose musical theme appeared exposed in the initial overture. Anna Pirozzi looks back his vocalism and interpretive force, in his beautiful aria end "Its me, dying, essanime "exquisite voices stockings, and issuing delicate notes in "pianissimo".
Since he started his stage baritone, I had occasion to hear Placido Domingo, in the Palace of Arts, in various roles verdianos: Francesco Foscari I due Foscari, in 2013, Macbeth, in 2015 and Rodrigo Marques de Posa in Don Carlo, in 2017, to which is added this Nabucco. Sunday is not a baritone but sings tenor baritone roles. During those six years between the creation of Francesco Foscari and Nabucco, the voice is gone Logically- deteriorating, with an increasingly lack of fiato, which prevents him properly build the Verdian long sentences. However keeps its beautiful timbre, miraculously youth, and a large theater capacity compensates his vocal limitations. Its scenic entrance in Act I, It turned hesitantly, with almost inaudibly in the great concertante that closes Act I, voices to side as strong as those of Anna Pirozzi and Alisa Kolosova. He improved considerably at the end of Act II, singing in the best Verdian style "S'appresan gl'istante". notably He faced his great Act II duet with powerful Abigaile Anna Pirozzi, full alternating moments of strong accents "Donna, who are you", “Oh, of qual'onta aggravasi ", with others full of pathos in his words repeated "Ah, The shadow miserable old man ... I am the King ", in contrast to the aggressiveness of Abigaile. Ya, in his great scene of Act III, They produced his best moments in the aria "Dio di Giuda", where he sings with delicate accents, lying on the ground face down, (something truly unusual for an almost octogenarian person), and plays hard and expressiveness the cabaletta "O Prodi miei, follow me".
The role of Zaccaria great vocal and stage requirement, She was played by the bass Riccardo Zanellato, verdiano good style of singing, although it lacking in volume and in serious difficulties Acute records, which are reflected in frequent octave leaps, to be performed in its many interventions throughout the opera. His performance was not discreet, in scenes of authentic brilliance as the aria "Sperate, or children…"Followed by the cabaletta" Come notte a glittering sun "Act I and the end of Act III" Oh,those who weep?…The future discern in the dark ". His best time was in the interpretation of the aria "Tu sul labro" belonging to the Preghiera, in Act II.
Russian mezzo Alisa Kolosova in the role of Fenena, He wore a voluminous voice of beautiful timbre. In his only solo, el aria "Oh disclosed is the firmament" of Acto IV, shows a delicate and elegant line full song lyric accents. also note, Speaking at the "Terzettino" of Act I, junto a Abigaille (both competing vocal volume) and Ismaele played by Mexican tenor Arturo Chacón the-Cruz, Voice bit bulky, but she sings with style and musicality, sobre todo en su vibrant airy "For the love of the living God dall'anatema cease", pertaining to Act II. Among the comprimarios roles include the magnificent performance of the Korean under Dongho Kim (The high priest), with a far superior vocal means to Riccardo Zanellato. Well in his brief interventions as Anna Sofia Esparza, Zaccaria's sister, and Ukrainian tenor Mark Serdiuk as Abdallo (Nabucco faithful officer).
"The Choir of the Generalitat Valenciana", directed by Francec Perales, He shone high, Obviously highlighting- in his extraordinary interpretation of the famous "Va pensiero", it starts again once the opera, after the rudeness of interpreters to Austrian nobles. As well, noting their great performances from other great choral moments: "The holidays Cadona broken down furniture", very beautiful invoice, with which starts the opera. As well, el de los Levitas chorus of Acto II "The Damned has no brothers", whose vibrant musical theme, already he appeared exposed in the initial overture. Y, interventions in the concluding concertantes of Acts I and II, or its significant presence throughout the end of Act III. In this production, The opera ends with the magnificent choir "Immenso Jeovha", usually precedes the "O-ary recitativo! those who see the wicked ... ..Su me, dying lifeless ", where death occurs Abiagaile.