Plácido Domingo / Reseñas

On March 1st, after performing the title role in Verdi’s Simon Boccanegra, Plácido Domingo takes the podium in Palermo for the first time leading the Teatro Massimo Orchestra and Chorus in “Noche Española”, a special evening of Zarzuela and Spanish favorites that includes works by Ruperto Chapí, Manuel de Falla, Federico Moreno Torroba, Gerónimo Giménez and more. On stage, Arturo Chacón Cruz, an Operalia Laureate with great interpretative skills, who has established himself as a leading tenor performing in renowned theaters and concert halls across the globe, and Lucero Tena, a former flamenco dancer who has marked a personal, unmistakable style to playing the castanets, positioning them as solo instrument of concert works in major concert halls. Zarzuela holds a special place in Plácido Domingo’s heart and has accompanied him since he was born, as his parents were highly acclaimed Zarzuela singers. Domingo has been a fervent promoter of this lyric genre, bringing it to the most prestigious theaters around the world.

Verdi’s first successful opera may not be many people’s favourite but the current Royal Opera House production surely raises the work a few rungs up the ladder of appeal.Let’s start with the chorus. There are operas where the members of the chorus have a couple of numbers, walk on the stage, sing their piece and are shepherded off to the wings. Not in Nabucco. Verdi composed some exhilarating pieces for them and I am not referring solely to the all-too-famous Va pensiero. The chorus is bunched up in the centre of the stage when they render the legendary number but it is a mourning piece and does not call for electrifying singing like some of the other choruses. The augmented Royal Opera House Chorus is worth the price of admission alone.The title role is sung alternately by Placido Domingo, the grand old man of opera and the relative newcomer, Greek baritone Dimitri Platanias making his Royal Opera House role debut. He gives a signature performance. From the arrogant king to the unhinged ruler and humiliated father, he achieves simply superb vocal resonance and emotional range. Just listen to his delivery of Deh perdona (Have mercy on a delirious father) where the great king is reduced to begging for mercy for his daughter from a slave who scorns him.Soprano Jamie Barton is Nabucco’s real daughter and the one who has snatched the tenor. She does not face the same demands as Monastyrska but she gives a praiseworthy performance. Tenor Leonard Capalbo gives a fine accounting of himself in the role of Ismaele.Director Daniele Abbado and Designer Alison Chitty have opted for a production that has modern overtones especially with the issue of displaced people and refugees. The costumes are modern and I felt that the direction given was “come as you are and bring your children for good measure.” That is not as bad as it sounds because ordinary dress is quite suitable and many of the refugees one sees on television are not dressed better or worse than what one sees on stage at the Royal Opera House. Children are very much a part of the refugee problem and having a few of them on stage was á propos. The set consisted of rectangular rocks and sand for much of the production. There was judicious use of projections (designed by Luca Scarzella) to dramatize some aspects of the production. The concept behind the productions seems sound but I am not sure that the execution of it matched the intent.Benini conducted the Orchestra of the Royal Opera House with the vigour and discipline that the music and concept of the opera demand. It was an outstanding performance.