Organization

Singer

Baritone

Leo Nucci

Nabucco

Giovanni Meoni

Tenor

Bruno Ribeiro

Ishmael

Bass

Giorgio Surian

Zachary

Riccardo Zanellato

Soprano

Dimitra Theodossiou

Abigail

Anna Maria Chiuri

Fenena

Alessandro Spina

The High Priest of Ba'al

Mauro Buffoli

Abdallo

Cristina Giannelli

Anna

Conductor

Michele Mariotti

Stage director

Daniele Abbado

Caroline Lang

Costume designer

Luigi Perego

Set designer

Teatro Regio di Parma

Parma

Italy

Teatro Regio

This is how Verdi wants to be played: with great gesture and force in the oratorio-like mass scenes, but then also with the lively lyrical tenderness without which Verdi's music would remain pure Technicolor" (FAZ).
Giuseppe Verdi's early work Nabucco (1842) became world famous through the prisoner's choir "Va pensiero sull'ali dorate", which constantly moved the audience with its catchy melody. The story of the persecution and liberation of the Hebrews by the Babylonian king Nabucco was Verdi's first major success as an opera composer. It certainly also played a role that the biblical story was understood as a symbol of Italy's struggle for freedom against Austrian and French foreign rule.


No other composer has gone through such a great artistic development as Giuseppe Verdi. The operatic history of the 19th century can be traced in an exemplary way by looking at the immense creative breadth from "Oberto" to "Falstaff". The name Verdi became synonymous with Italian opera. He could represent all human feelings in the melody, relaxed the rigid alternation between scene and aria, used the singing voice effectively and had a feeling for gripping drama. His work fascinates the tourists in the Arena of Verona as well as the modern musical theater directors, whose updates prove how much work of interpretation a good work of art can take.
The musician Verdi set new standards in opera, the politician Verdi was committed to the unity and independence of his homeland; the prisoner's chorus from "Nabucco" is considered the secret Italian national anthem. The financier Verdi knew how to capitalize on his talent, the patron Verdi founded the famous retirement home for musicians in Milan. And yet, as he said himself, he remained a farmer who felt most at home on his estate. No wonder that for a time almost no composer could get past Verdi when venturing into the field of opera. "Verdisation of the young" was what Eduard Hanslick mockingly called this phenomenon, which only came to an end with Puccini, Verismo and the successors to Wagner.

Nabucco Verdi

Approved

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