Admin

Dirigent

Hermann Bäumer

Regisseur

Regisseur (+7)

Tomáš Ondřej Pilař

Set designer

Set designer (+1)

Petr Vítek

Kostuum ontwerper

Kostuum ontwerper (+1)

Dana Haklová

Choreograaf

Martin Šinták

Licht ontwerper

Licht ontwerper (+2)

Daniel Tesař

Koor meester

Adolf Melichar

Marek Valášek

Dramaturg

Jitka Slavíková

National Theatre Prague

Státní Opera Praha (The State Opera)

Bariton (+1)

Nikoloz Lagvilava

Nabucco

Bariton (+3)

Stepan Drobit

Sopraan

Lilla Lee

Abigaille

Sopraan (+2)

Oksana Nosatova

Bas (+2)

Ivo Stánchev

Zaccaria

Bas (+1)

Iurie Maimescu

Mezzosopraan (+8)

Markéta Cukrová

Fenena

Alto-mezzo (+4)

Stanislava Jirků

Tenor (+1)

Maksym Vorochek

Ismaele

Tenor (+2)

Josef Moravec

Bas (+3)

Jan Hnyk

Il Gran Sacerdote di Belo

Bas-bariton (+3)

Miloš Horák

Vít Šantora

Abdallo

Michael Skalický

Michal Bragagnolo

Veronika Kaiserová

Anna

Eliška Gattringerová

Vojtěch Fülep

Actor

Acteur

Michal Soukup

David Králík

Vojtěch Svoboda

Slovak National Theatre

Tenor

Richard Samek

Orchestra

State Opera Orchestra

Chorus

State Opera Chorus

Ballet

National Theatre Opera Ballet Prague

Žáci Baletní školy Olgy Kyndlové

The opera Nabucco, depicting the dramatic story of the subjugation of the Israelites by the King of Babylon, ranks among Guiseppe Verdi’s most celebrated works. Phenomenal chorus scenes, extremely impassioned virtuoso arias, as well as the perennially topical themes of expansive war, lust for power, betrayal, life and death, are the reasons why it has always been a staple of opera houses’ repertoire.

The title hero is based on the historical figure of King Nebuchadnezzar II. The opera starts with a true event, the destruction of the Temple of Solomon in 587 BC. Yet the following conversion of Nabucco (Nebuchadnezzar) to Judaism and the setting the Hebrews free from captivity in Babylon are the librettist’s fictional creations, as are the complicated relationships within the royal family, and the strife between Nabucco’s two stepdaughters, striving to win the love of the same man and gain the throne. Loosely blending true historical facts, a biblical legend and imagination, the libretto made it possible for Verdi to bring to bear fully for the first time his immense musical virtues. The colossal triumph of Nabucco, his third opera, at the world premiere at La Scala in Milan in 1842 opened for the 28-year-old composer the path to fame. The opera’s best-known number, the chorus “Va, pensiero, sull‘ali dorate” (“Fly, thought, on wings of gold”), expresses the Hebrew exiles’ hope for freedom.

In Verdi’s time, however, it became a symbol of the Italian patriots’ resistance to Austrian supremacy, an unofficial anthem of the endeavour for a unified Italy free from foreign control; and the chorus has retained its political meaning up to the present day. Just as Verdi’s librettist drew inspiration from the Bible, particularly Psalm 137, biblical symbolism is foregrounded by the stage director Tomáš Ondřej Pilař in his conception of Nabucco’s new State Opera production.

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