Nabucco
Nabucco is an 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, Jeremiah, Lamentations, and Daniel, and on the 1836 play by Auguste Anicet-Bourgeois and Francis Cornu. However, Antonio Cortese's ballet adaptation of the play, given at La Scala in 1836, was a more important source for Solera than the play itself. Under its original name of Nabucodonosor, the opera was first performed at La Scala in Milan on 9 March 1842.
Nabucco is the opera that is considered to have permanently established Verdi's reputation as a composer. He commented that "this is the opera with which my artistic career really begins. And though I had many difficulties to fight against, it is certain that Nabucco was born under a lucky star."
The opera follows the plight of the Jews as they are assaulted, conquered and subsequently exiled from their homeland by the Babylonian king Nabucco. The historical events are used as background for a romantic and political plot. The best-known number from the opera is the "Chorus of the Hebrew Slaves", a chorus that is regularly given an encore in many opera houses when performed today.
Composition history
The success of Verdi's first opera, Oberto, led Bartolomeo Merelli, La Scala's impresario, to offer Verdi a contract for three more works. After the failure of his second opera Un giorno di regno, Verdi vowed never to compose again.In "An Autobiographical Sketch", written in 1879, Verdi tells the story of how he came to be twice persuaded by Merelli to change his mind and to write the opera. The duration of 38 years since the event may have led to a somewhat romanticized view; or, as Verdi scholar Julian Budden writes: "he was concerned to weave a protective legend about himself it was all part of his fierce independence of spirit." However, in – written ten years closer to the event – the zoologist Michele Lessona provides a different account of the events, as allegedly recounted by Verdi himself.
After a chance meeting with Merelli close to La Scala, the impresario gave him a copy of Temistocle Solera's libretto which had been rejected by the composer Otto Nicolai. Verdi describes how he took it home, and threw "it on the table with an almost violent gesture. ... In falling, it had opened of itself; without my realising it, my eyes clung to the open page and to one special line: 'Va, pensiero, sull'ali dorate'."
It has been noted that "Verdi read it enthusiastically", while others have suggested that he read it very reluctantly or, as recounted by Lessona, that he "threw the libretto in a corner without looking at it anymore, and for the next five months he carried on with his reading of bad novels ... towards the end of May he found himself with that blessed play in his hands: he read the last scene over again, the one with the death of Abigaille, seated himself almost mechanically at the piano ... and set the scene to music."
Nevertheless, Verdi still refused to compose the music, taking the manuscript back to the impresario the next day. But Merelli would not accept the refusal; he immediately stuffed the papers back into Verdi's pocket and according to the composer, "not only threw me out of his office, but slammed the door in my face and locked himself in". Verdi claims that gradually he worked on the music: "This verse today, tomorrow that, here a note, there a whole phrase, and little by little the opera was written" so that by the autumn of 1841 it was complete. At the very least, both Verdi's and Lessona's versions end with a complete score.
Performance history
19th century
The opening performances, limited to only eight because the season was coming to an end, were "a colossal success." But, when the new season opened on 13 August 1842, around 60 performances had been added by the end of that year. Numerous Italian and foreign theatres put on this opera in the years immediately following, including La Fenice in Venice in December 1842. In 1843, Donizetti conducted it in Vienna, and other stagings took place that year in Lisbon and Cagliari. But the definitive name of Nabucco for the opera was first used at a performance at the San Giacomo Theatre of Corfu in September 1844. Nonetheless, a more plausible alternative for the establishment of this abbreviated form claims that it was the result of a revival of the opera in Teatro del Giglio of 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 not considered proper". In the US it appeared at the Astor Opera House in New York on 4 April 1848.
20th century and beyond
Nabucco is frequently heard around the world today. It has been on the Metropolitan Opera's roster since it was first presented there during the 1960/61 season. When the Metropolitan opened its season in September 2001, eleven days after the destruction of the World Trade Center, the chorus began by singing "Va, pensiero" in honor of the victims of the attack.Nabucco is also regularly performed at the Arena di Verona. Among the performances preserved on DVD are those at the Arena di Verona ; La Scala, Opera Australia, Vienna State Opera, Metropolitan Opera, Genoa's Teatro Carlo Felice, Teatro Municipale di Piacenza, and Austria's St. Margarethen Opera Festival.
Many other companies have also performed it, including San Francisco Opera in 1982, Sarasota Opera in 1995 and 2019, London's Royal Opera House in 1996, Lyric Opera of Chicago in 1997 and 2016, the New National Theatre Tokyo in 1998, Teatro Colón in 2000, Baltimore Opera in 2006, and the Teatro Regio di Parma in 2008 as part of their on-going "Festival Verdi". Nabucco was presented by the Michigan Opera Theatre and the San Diego Opera as part of their 2009–2010 seasons. The Israeli Opera celebrated its 25th anniversary in 2010 with Nabucco at Masada, and performed it again in June 2019, accompanied by the Jerusalem Symphony Orchestra, in the Sultan's Pool, just outside the wall surrounding the Old City of Jerusalem. It was performed at the Royal Opera House, Covent Garden in 1972 with Colin Davis, and in March 2013 with director for a new co-production with La Scala, which was relayed to cinemas and subsequently released on DVD. Seattle Opera produced its first-ever staging of Nabucco in August 2015.
Roles
Instrumentation
Nabucco is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, one cimbasso, timpani, bass drum, cymbals, side drum, triangle, two harps, strings, and an onstage banda.Synopsis
Act 1: Jerusalem
Interior of the Temple of SolomonThe Israelites pray as the Babylonian army advances on their city. The High Priest Zaccaria tells the people not to despair but to trust in God. The presence of a hostage, Fenena, younger daughter of Nabucco, King of Babylon, may yet secure peace. Zaccaria entrusts Fenena to Ismaele, nephew of the King of Jerusalem and a former envoy to Babylon. Left alone, Fenena and Ismaele recall how they fell in love when Ismaele was held prisoner by the Babylonians, and how Fenena helped him to escape to Israel. Nabucco's supposed elder daughter, Abigaille, enters the temple with Babylonian soldiers in disguise. She, too, loves Ismaele. Discovering the lovers, she threatens Ismaele: if he does not give up Fenena, Abigaille will accuse 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. Zaccaria defies him, threatening to kill Fenena if Nabucco attacks the temple. Ismaele intervenes to save Fenena, which removes any impediment from Nabucco destroying the temple. He orders this, while Zaccaria and the Israelites curse Ismaele as a traitor.
Act 2: The Impious One
Scene 1: Royal apartments in BabylonNabucco has appointed Fenena regent and guardian of the Israelite prisoners, while he continues the battle against the Israelites. Abigaille has discovered a document that proves she is not Nabucco's real daughter, but the daughter of slaves. She reflects bitterly on Nabucco's refusal to allow her to play a role in the war with the Israelites and recalls past happiness. The High Priest of Baal informs Abigaille that Fenena has released the Israelite captives. He plans for Abigaille to become ruler of Babylon, and with this intention has spread the rumour that Nabucco has died in battle. Abigaille determines to seize the throne.
Scene 2: A room in the palace
Zaccaria reads over the Tablets of Law, then goes to summon Fenena. A group of Levites accuse Ismaele of treachery. Zaccaria returns with Fenena and his sister Anna. Anna tells the Levites that Fenena has converted to Judaism, and urges them to forgive Ismaele. Abdallo, a soldier, announces the death of Nabucco and warns of the rebellion instigated by Abigaille. Abigaille enters with the High Priest of Baal and demands the crown from Fenena. Unexpectedly, Nabucco himself enters; pushing through the crowd, he seizes the crown and declares himself not only king of 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 and will share the Israelites' fate. Nabucco is furious and repeats his conviction that he is now divine. A crashing thunderbolt strikes Nabucco down, and he promptly loses his senses. The crown falls from his head and is picked up by Abigaille, who pronounces herself ruler of the Babylonians.