Nabucco at the Royal Theater, almost a premiere

Nabucco at the Royal Theater, almost a premiere
Giuseppe Verdi (1813-1901)
Lyrical drama in four acts
Libretto by Temistocle Solera, based on the play Nebuchadnezzar (1836)
by Auguste Anicet-Bourgeois and Francis Cornu, and in the ballet Nebuchadnezzar (1838) by Antonio Cortesi
Premiered at the Teatro Alla Scala in Milan, he 9 March 1842
Premiered at the Teatro Real 27 of January of 1853
Production of the Zürich Opernhaus, in co-production with the Teatro Real
D. musical: Nicola Luisotti – Sergio Alapont (13, 16, 20 jul)
D. scene: Andreas Homoki
Scenographer: Wolfgang Gussmann
costume designers: Wolfgang Gussmann, Susana Mendoza
illuminator: Franck Evin
Playwright: Fabio Dietsche
D. choir: Andrés Máspero
Distribution: Nabucco: Luca Salsi, George Gagnidze, Gabriele Viviani, Luis Cansino;
Ismaele: Michael Fabiano, Eduardo Aladren; Zechariah: Dmitry Belosselsky, Roberto y Tagliavini Alexander Vinogradov; Abigaille: Anna Pirozzi, Saioa Hernandez and Oksana Dyka;
Fenena: Silvia Tro Santafe, Elena Maximova y Aya Wakizono; the high priest: Simon Lim and Felipe Bou; Abdallo: Fabian Lara and Anna Maribel Ortega

Nabucco premieres at the Teatro Alla Scala in Milan, he 9 March 1842. He arrived in Spain very soon, at the Santa Creu Theater in Barcelona in 1844 (the Liceu had not yet been inaugurated). Leading the cast was Antonio Superchi, one of the most important baritones of the time.

In Madrid it opens just two months later at the Teatro Circo, with Giogio Ronconi, another big, in the role of Nabucco. Since 1844 until 1850, Nabucco was on the bill almost every season. Since the Liceu was inaugurated in 1847 and the Royal Theater in 1850, becomes one of the most performed and most successful works. Always on the bill and always hand in hand with the best performers.

He 9 February 1871, Nabucco is performed for the last time in Madrid. Since then, and despite the enormous popularity of this work, I hadn't been back on stage at Real until now.

When Verdi receives the commission for Nabucco, he is going through one of the worst moments of his life. His wife and children had passed away and he was considering the possibility of leaving music. At first he rejects the project but, after thinking that it may be the opportunity to get ahead, take the job. Verdi did not know that thanks to this work he would become a national hero.

With only twelve days from the first rehearsal at the piano to the day of the premiere, Verdi has to work hard with a score that introduces several novelties in its orchestration. The first is the use of numerous metals, like horns and bugles, raising the sound volume, something that was not very common in other operas. As a counterpoint to the sound volume, creates moments of great intimacy in the arias, like the cello sextet that accompanies Nabucco, or Abigaile's aria, accompanied only by a cello and an English horn, creating one of the most sublime moments of this work, along with the interventions of the choir.

For this almost revival in the Teatro Real, the production of the Zürich Opernhaus has been chosen, in co-production with Real. At the head of the orchestra Nicola Luisotti, a master of the verdian repertoire who knows how to maintain the sound balance of the orchestration of a work like this like no other.

The set design by Andreas Homoki and Wolfgang Gussmann is almost non-existent. Since the play is divided into four acts, and each act in two paintings, it becomes very difficult to assemble eight different scenery so, according to the stage directors themselves, “we decided that the best way to reflect the changes and make the scenes flow and have continuity was, simply, that there was no scenery". and so it is, under the absolute presence of an elegant float green color, on the stage there is only a kind of gigantic marble countertop that moves generating the spaces in which the action takes place. The only thing that saw the scene and set it, they are the figurines of Wolfgang Gussmann and Susana Mendoza, next to lighting, always right, although very dark (something that has become fashionable) by Franck Evin.

No effort has been spared for the voices, up to four Nabuccos participate in this production, Luca Salsi, George Gagnidze, Gabriele Viviani and Luis Cansino. For Ismaele two options, the always impeccable Michael Fabiano and Eduardo Aladrén. And Zacaria le dan vida Dmitry Belosselsky, Roberto Tagliavini and Alexander Vinogradov.
Abigaille has the participation of Anna Pirozzi, Saioa Hernandez and Oksana Dyka. Fenena is in charge of Silvia Tro Santafé, Elena Maximova y Aya Wakizono. as great priests, Simon Lim and Felipe Bou. And we cannot forget the participation of the great protagonist of this opera, the village, represented by the Titular Choir of the Theater, Chorus Intermezzo que, at the time of writing this chronicle, He has already had a first encore at the premiere with “Va pensiero”. And it is that this choir, under the direction of Andrés Máspero, shows why he is among the best in the world and deservedly so.

An impressive cast of voices to choose from in this work that has had to wait 151 years, but it was worth it.

On the occasion of Opera Week, the days 14 Y 15 of July, to 21.00 hours, Nabucco can be seen on a screen installed in the Plaza de Isabel II (Opera Square) with two different divisions. There will be 1000 chairs available for the public, first come first serve, until full capacity.

He 15 July at 21.00 hours, Nabucco will be broadcast for free on MyOperaPlayer worldwide and in places, cultural centers, museums, auditoriums and theaters throughout Spain.