Posts Tagged ‘Verdi’s Nabucco’

While there is no official entry for Simon Boccanegra in Riccardo Muti’s discography, the same cannot be said of Nabucco; there are the EMI CDs with Renata Scotto and Matteo Manuguerra and the DVD from Milan with Ghena Dmitrova and Renato Bruson. This afternoon’s performance unfortunately could not count with glamorous forces as those. While listening to the studio recording, I see that in the outline his approach has not really changed. The score still sounds like Rossini’s Semiramide on steroids (an entirely legitimate concept) – but if in London this seemed dazzling and intense, today “loud, brassy and unsubtle” would be more like it. The Rome Opera has a long history with this work, but its orchestra sounded on the bureaucratic side this afternoon. But for the percussionists, who seemed ready to drown everybody else in their enthusiasm. Maybe everybody was tired and jet-lagged. Maybe these Japanese tours seem like easy cash in the context of an audience overindulgent both in showing appreciation and in readiness to pay VERY expensive tickets. To make things worse, almost every soloist sounded heavily overparted. If the chorus’s hearty singing was an oasis of animation against a monochrome of band-like sounds, this made singers’  lives even more difficult in the many concertati.

It seems that a prospect of a trip to Tokyo had an unhealthy effect in the prime donne from the Teatro dell’Opera, for Tatiana Serjan too turned out indisposed. Her replacement, Raffaella Angeletti, deserves a C+ for effort, but her limitation in volume and in projection (add a veiled tonal quality to that) makes Abigaille a no-go for her. In this role that requires a flashing personality, getting the notes sung seemed to be her single purpose. I would have to see her in a role within her powers to really say something about this singer. Sonia Ganassi’s Fenena had more purpose (at least, we could understand which words she was singing), but I have seen this role more expressively sung before. Antonio Poli is a tenor of unusual good taste and the voice is a pleasant in an almost Mozartian way, but Ismaele is not his role. I wouldn’t say that Nabucco is Luca Salsi’s role either – his baritone is a couple of sizes smaller than his part and the heavy demand makes him sound dry and emphatic. The fact alone that Dmitry Beloselskiy (Zaccaria) was the one singer on stage who could be easily heard today made everyone forgive a curdled tonal quality. One should also remember that he is the only soloist featured in both casts for this tour and it is even remarkable that he sounded better today than yesterday.

Jean-Paul Scarpitta’s production turns around empty aesthetics, extremely sketchy Personenregie (something like “Abigaille is the girl with the arms crossed; and Zaccaria is the guy with raised arms”) and someone must have forgotten to explain him that the meaning of “Un fulmine scoppia sul capo del Re. Nabucco, aterrito, sente strapparsi la corona da una forza sopranaturale” is not “nothing happens – action goes on as previously”. The percussionist evidently knew that.


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The first word I could hear while on entering the auditorium of the New National Theatre today was “escalator” and I thought that those ladies were referring to the new ones in the lobby, but then I saw a couple of them on stage.  “Aren’t you performing Nabucco today?”, a man asked one of the ushers. “Yes, sir”, she answered in a very professional tone. “But why there is a department store on stage?!” “It seems that this is the modern way of staging an opera”, she repressed a smirk. “Aaah…”.

The New National Theatre has had its share of stylized stagings, but it seems today many members of the audience are going to google the word “Regietheater” for the first time. In any case, the program had an explanatory text in which you could see side by side pictures of Zeffirelli’s and Calixto Bieito’s stagings of Verdi’s Aida. I am not sure if I truly like Graham Vick’s new production of Verdi’s Nabucco, but I am grateful for not seeing choristers in Life-of-Bryan costumes trying to walk like a Babylonian. Most of all, I am glad that Mr. Vick had intended his production to the Japanese audience. I am not sure if he understands it or even really had something to say, but he did get it right that many of those in the the National Theatre watch and listen to opera as if it had nothing to do with their lives, but rather as a a) traditional, b) foreign; c) respectable entertainment. I am no sociologist, but I would rather believe that in many points, audiences in Japan could relate more directly to it than those in Milan or in Munich. You’ll only need to read Japanese newspapers to see my point.

In any case, there is a shopping mall on stage. Well-dressed people are drinking their cappuccini, fidgeting with their Iphones and buying Italian designer items. There is a beggar with a “the end is near”-sign, but nobody seems to notice him, until he grabs a passer-by, strip her from her overcoat to reveal her funkier clothes. She is Fenena. Later a gang of terrorists in pig masks would invade the mall led by some sort of Tracy-Turnblad-meets-the-bride-of-Chucky (Abigaille). Then you realize that: a) the Hebrews are the consumerists; b) the shopping mall is their temple; c) the Babylonians are the Die-fette-Jahren-sind-vorbei terrorists (they basically mess things around and place them in funny places) who put them in a hostage situation. As much as the no-fourth-wall approach could be interesting, this scenario does not really go with the plot. In Verdi’s Nabucco, we first witness the Babylonians in Jerusalem breaking down the Kingdom of Judah and then, and then in Babylon as the established power with an army, the power to pass laws etc etc, while the Hebrews are reduced to an oppressed “nation without a state” with no one to protect them but their invisible and very abstract God (as the Babylonians more or less would describe it). I can see that Mr. Vick wishes us to have a fresh look into the situation – and I would guess that he finds the Hebrews as portrayed in this story some sort of uncongenial conservative bunch – but his reversal of values requires so much suspension of disbelief that in the end you just give it up: if the Hebrews are here the bourgeois clientele of the shopping mall and the Babylonians are the terrorists, where is the police? I mean – the terrorists are not the State and therefore have no right to resort to violence. So they are criminals, right? So, where is the police? Also, how come Zaccaria the beggar “belongs with” the mall clientele? Why would the clientele follow his lead in the first place instead of just calling security to escort him out? Finally, since we are adapting the story to give it a second layer of meaning, why God’s lightning is just good, old meteorological lightning? I mean, the anarchistic terrorist leader would loose his sanity because the shopping mall was struck by lightning? Well, that was enough for  the biblical Nebuchadnezzar , but he really meant it when he declared that he was God when that happened… Also, the option for  literal lightning makes the collective conversion in the end of the opera hard to take. In the libretto, Nabucco regains his sanity as a miracle once he accepted God in his heart. Is it what happens here? Seriously?! Once you stop caring about these “details”, there are somethings to enjoy here: Paul Brown’s realistic sets are extremely convincing, the underage offender Abigaille is an interesting take on the role and the choristers are very well directed.

This is my second Nabucco conducted by Paolo Carignani (the first one was in Munich) and, if my memory does not play me a trick, I find this performance superior. I was going to write that the orchestra this afternoon sounded as an orchestra entirely different from the one that played in the New National Theatre’s Aida and Tannhäuser – and the reason is very simple: this is the Tokyo Philharmonic  while Aida and Tannhäuser had the Tokyo Symphonic. This seems to be an evidence that larger-scale works should always get the Philharmonic. Today, the orchestra basically had SOUND. And that made all the difference in the world, especially when those musicians proved to be engaged in the drama, keeping up with some fast tempi. While Carignani cared for beautiful sounds first in Munich, here he seemed primarily concerned in keeping things exciting and animated, which is always a safe option in this repertoire. When one listens to Riccardo Muti’s studio recording, one finds that there are moments when one can find some dramatic depth in nobler phrasing in key moments and attention to detail, but that would be an unfair comparison anyway.

Abigaille is such an impossible role that pointing out this or that shortcoming in a singer is an entirely futile exercise. Does Marianne Cornetti make something of Verdi’s excruciating demands? Yes, with great distinction, I would add. Her voice is not the kind of flashy Italian soprano with big chest notes and piercing acuti one would expect to find here. Moreover, she is sometimes caught short when things get too Semiramide-esque but, except for a rather breathless Salgo già del trono aurato, she proved to be very much mistress of her resources, singing with unfailingly big, round and warm tones, admirably homogeneous throughout her range. One could observe that her singing lacked verbal specificity (especially in comparison to Renata Scotto in Muti’s recording), but her almost Mozartian poise in some fiendishly passages made her Abigaille more “human” than what I am used to hear (Anch’io dischiuso un giurno particularly touching without ever being schmaltzy). This very generous artist showed great abandon in her stage performance too – costumes and blocking showed her in her less glamorous (to put it mildly) but she seemed to relish the opportunity to give herself entirely to the experience of performing this role in such an approachable way.

As Fenena, Mutsumi Taniguchi proved to have a very interesting mezzo – the sound is dark and has a slightly veiled quality until it opens up in a gleaming and very firm top register. Oh dischiuso è il firmamento was beautifully and sensitively sung. Tatsuya Higuchi (Ismaele) has an attractively hued tenor with some piercing top notes, but he is over-emphatic in his phrasing and, as many Japanese tenors, operate in a very taut – but not thin – high register. This was a good afternoon for Lucio Gallo too, probably the best performance I have ever heard from him. He was in very firm and rich voice and, although his baritone is not as voluminous as those of many famous Verdian household names, it projected easily in the auditorium. He alone could highlight Verdi’s parole sceniche as singers in this repertoire are supposed to do and often ventured in soft singing that verged on falsetto sometimes. As his Abigaille, he seemed very comfortable with the stage direction – their scenes invariably being this performance’s best moments. I am afraid, though, that Zaccaria is not Konstantin Gorny’s role – it is indeed a very difficult role, but he found it hard to pierce through the orchestra and, when he did, the sound was often fluttery and curdled. He never cheated, though, and never showed himself less than fully engaged, but the part requires a nobler and ampler sound.

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Nabucco is a difficult opera to pull out. Although it is considered to be Verdi’s first truly “Verdian” opera, it is rather a torso of a Verdian opera. Without a truly commited approach from all involved, its many uneffective passages drain the dramatic power of the whole performance. The Bavarian State Opera has a good start – its orchestra has a truly rich and beautiful sound, with individual instrumental solos expressively performed. Conductor Paolo Carignani knows the value of forward movement, of theatrical atmosphere and structural clarity. It is truly a pity that he often gets overemphatic when percussion is involved, thus disfiguring his otherwise masterly balance. This prestigious opera house also has a very good chorus. Unfortunately, it took a while to warm from a messy opening number. It would eventually offer a sensitive account of the opera’s signature number, the chorus Va pensiero, with perfectly blended voices and delicate accompaniment by the orchestra.

The performance’s prima donna, Alessandra Rezza has truly interesting material. Her voice is well focused, spontaneously bright-toned as only Italian sopranos can be, her divisions are really accurate, she has excellent diction, knows how to make use of the text and also has some charisma. However, Abigaille is such a heavy role for her voice that all those assets could not make into something truly satisfying. Although her low notes are focused and not thrown on chest voice, she had hard time trying to make them run into the auditorium; some of her acuti were not truly on pitch and she had to chop her phrasing to make to the end of many a testing passage. The role of Zaccaria too did not show Stefan Kocán’s Zaccaria under a very positive light either. Tenor Aleksandr Antonenko does not have a problem with heaviness, but with lightness. Although his tenor is not as beefy as his recent casting as Otello might suggest, it is a big, bright voice that unfortunately lacks Italian legato. As a result, the role did not sound congenial as it should.

Although Paolo Gavanelli’s baritone has its squeezed-up and throaty moments, it is a spacious voice with considerable tonal variety. Lyric passages are expressively handled and his high mezza voce is a real treasure in his vulnerable approach to the role  Nabucco. Daniela Sindram was also positively cast as Fenena. Although her mezzo has this German plushness, she has solid low notes and charm to spare.

I have been writing a lot about production in my recent reviews, but Yannis Kokkos is so inoffensive in its geometrical uneventfulness that it is not really worth writing about it. I know I am picky sometimes – but I am convinced that a staging has to make sense, even if one finally does not agree with that sense. Here we have the Jewish people represented as if during World War II, but the babylonians are dressed as characters from Die Zauberflöte. The coup-de-grâce: while singing Va, pensiero, the chorus is behind a barbed-wire fence, while Zaccaria is on the other side. Suddenly, he has an inspiration and finds a way to get in. The 1,000,000 question – if there is an unguarded way in to get behind the fence, why don’t they just get out?!

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