The Verdi Project: Nabucco

By the waters of Babylon, Verdi's legend begins.
by Paul J. Pelkonen

Historic bas-relief of the Babylonian king Nebachudnezzar, hero of Verdi's third opera Nabucco.

Nabucco put Giuseppe Verdi on the map. The composer's third opera premiered in Milan in 1842. It was an absolute smash. Its success would not only alter Verdi's fortunes, but the popularity of its message and its famous chorus "Va, pensiero" may claim some credit for reshaping the political map of Italy. It was Verdi's music and the eventual rallying cry "Viva Verdi" (code for "Vittorio Emmanuel, Re d'Italia") that would help propel that collection of nation-states toward revolution and eventual political unity.

Metropolitan Opera Preview: Semiramide

Angela Meade seizes power in ancient Babylon
by Paul J. Pelkonen

Angela Meade (center) is the titular Queen Semiramide in the Met's Rossini grand opera.
Photo by Ken Howard © 2018 The Metropolitan Opera.

The Metropolitan Opera presents Semiramide, a four-act Italian grand opera by Rossini that was the composer's final opera for the stage of his native country. Angela Meade sings the daunting title role, a bravura showpiece for the soprano voice.

Opera Review: Breaking the Chains

Nabucco comes to Opera Philadelphia.
by Paul J. Pelkonen

Power struggle: Abagaille (Csilla Boross) confronts Nabucco (Sebastian Catana)
in Act I of Verdi's Nabucco. Photo by Kelly & Massa Photography © 2013 Opera Philadelphia.

Since its premiere at La Scala in 1842, Verdi's third opera Nabucco has been weighed down by its most famous number: the Act III chorus "Va pensiero" sung by the imprisoned Hebrew slaves as they endure the Babylonian Captivity. The chorus, itself a rallying cry of the Italian risorgimento movement in 19th century Italy tends to outshine the actual opera--and its political and historical importance can outweigh the effectiveness of the opera itself.

Thaddeus Strassberger's handsome production, which bowed Friday night at the Academy of Music is the season opener for Opera Philadelphia--as well as that company's first Nabucco. A co-presentation with Washington National Opera and Minnesota Opera, the show solves the "Pensiero problem" by embracing the opera's off-stage history and influence. Mr. Strassberger moves the action of the piece to 1842. At stage right, two boxes of Austrian aristocrats take in what is presumably the work's premiere. Guarded by five rifle-toting soldiers, these opera-goers check their librettos, sip champagne, and act bemused at the Biblical blood-and-thunder playing out upon the stage.