Name: Nabucco
Start: 2021-09-04T00:00:00.000Z
End: 2022-05-21T00:00:00.000Z
Location: Antonín Dvořák Theatre

Organization

Singer

Baritone

Martin Bárta

Nabucco

Aleš Jenis

Soprano

Maida Hundeling

Abigail

Eliška Weissová

Bass

Martin Gurbaľ

Zachary

František Zahradníček

Tenor

Luciano Mastro

Ishmael

Josef Moravec

Martin Šrejma

Anna Nitrová

Fenena

Alžběta Vomáčková

Jakub Kettner

The High Priest of Ba'al

Petr Urbanek

Denisa Bílá

Anna

Eva Dřízgová-Jirušová

Václav Morys

Abdallo

Juraj Nociar

Stage director

Jiří Nekvasil

Conductor

Adam Sedlický

Jiří Habart

Costume designer

Marta Roszkopfová

Set designer

Vladimír Šrámek

Choreographer

Jana Tomsová

Dramaturge

Helena Spurná

Translator

Marie Kronbergerová

Chorus master

Jurij Galatenko

Roman Vlkovič

Iordanka Derilova

National Moravian-Silesian Theatre

italiană

Ostrava

Czech Republic

Antonín Dvořák Theatre

Public

cehă

engleză

Approved

Nabucco Verdi

Libretto by Temistocle Solera (1815–1878) Musical production by Adam Sedlický Directed by Jiří Nekvasil Replica of the production of the first Ostrava production from 1968 (directed by Miloslav Nekvasil, stage by Vladimír Šrámek) Verdi 630–562 BC). Verdi wrote this opera in the text of his frequent librettist Temistocla Solera, who learned from the historical realities of the involuntary stay of Jews in Babylon, but adapted the story to the needs of a romantic opera full of emotions. The basis was a dramatic conflict between the king and his illegitimate daughter Abigail, and there is also a love triangle between her, Fenena and Ishmael. Following the example of the biblical prophets, the librettist did not forget the dignified figure of the high priest Zacharias, whom he endowed with proper authority. In the libretto, it was possible to notice the secretive expression of the struggle of the Italian nation for liberation from Habsburg rule and unification. This moment was then underlined in a unique way by Verdi's music. The famous choral song Va, pensiero, sull´ali dorate (Fly, Thought, on the Golden Wings) was heard at street events throughout Italy. The premiere at Milan's La Scale was a complete triumph that catapulted Verdi among the leading Italian composers. Interestingly, Verdi's girlfriend Giuseppina Strepponi became the first representative of the demanding drama group Abigail, whom he later married. Nabucco has so far been staged in only three productions at the Moravian-Silesian National Theater, most recently in 1998. We present in the Italian original with Czech and English subtitles the premieres on 12 and 13 September 2020 at the Antonín Dvořák Theater
Licence
Creative Commons Attribution licence (reuse allowed)

"Fly, thought, on the golden wings, fly, rest on the slopes, on the hills, where the breezes and slightly smells of the breezes of the sweet homeland!"
 
Verdi's third opera , Nabucco , deals with a biblical theme from the Old Testament of King Nebuchadnezzar of Babylon (ca. 630-562 BC). Already its premiere in 1842 was a great success, the audience at the time also perceived in it the secretive expression of the struggle of the Italian nation for liberation from Habsburg rule and for unification. This moment was then underlined in a unique way by Verdi's music. Famous choral song, "aria for choir" Va, pensiero, sull'ali dorate ( Fly, thought, on golden wings) was performed at street performances throughout Italy and is still the most popular musical number in the entire opera. Verdi wrote this opera on the text of librettist Temistocla Solera, who was inspired by the historical realities and biblical books of the Old Testament of the conquest of Jerusalem, the destruction of the Jerusalem Temple and the subsequent fate of the Jews in Babylonian captivity. The poet Solera enriched the plot of the opera with other characters, Nabucco's two daughters, the Jewish warrior Ishmael, the prophet Zaccaria, that is, Zechariah (however, the de facto prophet Zechariah lived in a different time). With them, we all experience Verdi's suggestive music, expressing all the dramatic situations and tense emotions of the characters, which culminate in the narration of Nabucco's madness.

English

Verdiho v pořadí třetí opera Nabucco zpracovává biblický námět ze Starého zákona o babylónském králi Nabukadnezarovi (cca 630–562 př. Kr.). Již její premiéra v roce 1842 zaznamenala velký úspěch, tehdejší publikum v ní vnímalo i jinotajné vyjádření zápasu italského národa za osvobození z habsburského područí a za sjednocení. Tento moment pak podtrhla jedinečným způsobem Verdiho hudba. Slavná sborová píseň, „árie pro sbor“ Va, pensiero, sull’ali dorate (Leť, myšlenko, na zlatých křídlech) zaznívala na pouličních manifestacích po celé Itálii a dodnes je nejpopulárnějším hudebním číslem celé opery. Verdi tuto operu napsal na text libretisty Temistocla Solery, který se inspiroval historickými reáliemi a biblickými knihami Starého zákona o dobytí Jeruzaléma, zničení jeruzalemského chrámu a následném osudu Židů v babylonském zajetí. Básník Solera obohatil děj opery o další postavy, o Nabuccovy dvě dcery, židovského bojovníka Ismaela, proroka Zaccariu, tedy Zachariáše (faktický prorok Zacharjáš však žil v jiné době). S nimi všemi prožíváme sugestivní Verdiho hudbu, vyjadřující všechny dramatické situace a vypjaté emoce postav, které vrcholí líčením Nabuccova šílenství.
 
Uvádíme v italském originále s českými a anglickými titulky.
V Národním divadle moravskoslezském byl Nabucco doposud uveden v pouhých třech nastudováních (1968,1989, naposledy roku 1998; tato inscenace měla svou derniéru až v roce 2016).
 
Naší novou inscenací se vracíme k jevištní podobě prvního ostravského uvedení Nabucca z roku 1968, čímž vyjádříme úctu dvěma tvůrcům, režisérovi Miloslavu Nekvasilovi a scénografovi Vladimíru Šrámkovi, kteří svou společnou prací v letech 1960–1990 zanechali v dějinách ostravské opery výraznou stopu.

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