Nabucco (; short for Nabucodonosor , i.e. "Nebuchadnezzar") is an Italian-language opera in four acts composed in 1841 by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The libretto is based on the biblical books of 2 Kings, Jeremiah, Lamentations, and Daniel, and on the 1836 play by Auguste Anicet-Bourgeois and Francis Cornu. However, Antonio Cortese's ballet adaptation of the play (with its necessary simplifications), given at La Scala in 1836, was a more important source for Solera than the play itself. Under its original name of Nabucodonosor, the opera was first performed at La Scala in Milan on the 9th of March 1842.
Nabucco is the opera that is considered to have permanently established Verdi's reputation as a composer. He commented that "this is the opera with which my artistic career really begins. And though I had many difficulties to fight against, it is certain that Nabucco was born under a lucky star."
The opera follows the plight of the Jews as they are assaulted, conquered and subsequently exiled from their homeland by the Babylonian king Nabucco (Nebuchadnezzar II). The historical events are used as background for a romantic and political plot. The best-known number from the opera is the "Chorus of the Hebrew Slaves" ("Va, pensiero, sull'ali dorate" / "Fly, thought, on golden wings"), a chorus that is regularly given an encore in many opera houses when performed today.
Composition history
The success of Verdi's first opera, Oberto, led Bartolomeo Merelli, La Scala's impresario, to offer Verdi a contract for three more works. After the failure of his second opera Un giorno di regno (completed in 1840 towards the end of a brutal two-year period during which both of his infant children and then his 26-year-old wife died), Verdi vowed never to compose again.
In "An Autobiographical Sketch", written in 1879, Verdi tells the story of how he came to be twice persuaded by Merelli to change his mind and to write the opera.Verdi, "An Autobiographical Sketch" 1879 in . See also The duration of 38 years since the event may have led to a somewhat romanticized view; or, as Verdi scholar Julian Budden writes: "he was concerned to weave a protective legend about himself [since] it was all part of his fierce independence of spirit." However, in ("Where there's a will ...") – written ten years closer to the event – the zoologist Michele Lessona provides a different account of the events, as allegedly recounted by Verdi himself.
After a chance meeting with Merelli close to La Scala, the impresario gave him a copy of Temistocle Solera's libretto which had been rejected by the composer Otto Nicolai. Verdi describes how he took it home, and threw "it on the table with an almost violent gesture. ... In falling, it had opened of itself; without my realising it, my eyes clung to the open page and to one special line: 'Va, pensiero, sull'ali dorate'."
It has been noted that "Verdi read it enthusiastically" (and he himself mentioned that, while trying to sleep, he was kept awake and read and re-read the libretto three times), while others have suggested that he read it very reluctantly or, as recounted by Lessona, that he "threw the libretto in a corner without looking at it anymore, and for the next five months he carried on with his reading of bad novels ... [when] towards the end of May he found himself with that blessed play in his hands: he read the last scene over again, the one with the death of Abigaille (which was later cut), seated himself almost mechanically at the piano ... and set the scene to music."
Nevertheless, Verdi still refused to compose the music, taking the manuscript back to the impresario the next day. But Merelli would not accept the refusal; he immediately stuffed the papers back into Verdi's pocket and according to the composer, "not only threw me out of his office, but slammed the door in my face and locked himself in". Verdi claims that gradually he worked on the music: "This verse today, tomorrow that, here a note, there a whole phrase, and little by little the opera was written" so that by the autumn of 1841 it was complete. At the very least, both Verdi's and Lessona's versions end with a complete score.
Performance history
19th century The opening performances, limited to only eight because the season was coming to an end, were "a colossal success." But, when the new season opened on 13 August 1842, around 60 performances had been added by the end of that year. Numerous Italian and foreign theatres put on this opera in the years immediately following, including La Fenice in Venice in December 1842. In 1843, Donizetti conducted it in Vienna, and other stagings took place that year in Lisbon and Cagliari. But the definitive name of Nabucco for the opera (and its protagonist) was first used at a performance at the San Giacomo Theatre of Corfu in September 1844."Nabucodonosor: History" on giuseppeverdi.it, in English. Retrieved 1 April 2013. Nonetheless, a more plausible alternative for the establishment of this abbreviated form claims that it was the result of a revival of the opera in Teatro del Giglio of Lucca.
The opera was first given in London at Her Majesty's Theatre on 3 March 1846 under the name of Nino, since the depiction of biblical characters on stage "was not considered proper"."Her Majesty's Theatre", The Times, 4 March 1846, p. 5 In the US it appeared at the Astor Opera House in New York on 4 April 1848.
20th century and beyond Nabucco is frequently heard around the world today. It has been on the Metropolitan Opera's roster since it was first presented there during the 1960/61 season.Metropolitan Opera, Search: Nabucco; Repertory Statistics When the Metropolitan opened its season in September 2001, eleven days after the destruction of the World Trade Center, the chorus began by singing "Va, pensiero" in honor of the victims of the attack.Ross, Alex, Listen to This, p. 203, Picador (2011)
Nabucco is also regularly performed at the Arena di Verona.Arena di Verona, Performance archives Among the performances preserved on DVD are those at the Arena di Verona (1981 and 2007); La Scala (1987), Opera Australia (1996), Vienna State Opera (2001), Metropolitan Opera (2002), Genoa's Teatro Carlo Felice (2004), Teatro Municipale di Piacenza (2004), and Austria's St. Margarethen Opera Festival (2007).Royal Opera House
Many other companies have also performed it, including San Francisco Opera in 1982, Sarasota Opera in 1995 and 2019, London's Royal Opera House in 1996, Lyric Opera of Chicago in 1997 and 2016,Von Rhein, John (22 September 1997). "Striking Opening For Lyric". Chicago Tribune the New National Theatre Tokyo in 1998, Teatro Colón in 2000, Baltimore Opera in 2006, and the Teatro Regio di Parma in 2008 as part of their on-going "Festival Verdi"."Festival Verdi 2008", Teatro Regio (Parma) Nabucco was presented by the Michigan Opera Theatre and the San Diego Opera as part of their 2009–2010 seasons."Nabucco" debuted at Detroit Opera House Downriver Sunday Times 24 October 2009 The Israeli Opera celebrated its 25th anniversary in 2010 with Nabucco at Masada,Nabucco / Giuseppe Verdi Israeli Opera and performed it again in June 2019, accompanied by the Jerusalem Symphony Orchestra, in the Sultan's Pool, just outside the wall surrounding the Old City of Jerusalem.Billand, Klaus: "Nabucco in Jerusalem – Die richtige Oper am rechten Ort" (in German) opera-online.com, 20 June 2019 It was performed at the Royal Opera House, Covent Garden in 1972 with Colin Davis,Nabucco – 23 March 1972 Evening, performance details, Royal Opera House Collections Online and in March 2013 with director for a new co-production with La Scala,Church, Michael (1 April 2013)."Review: Nabucco, Royal Opera House, London". The Independent. Retrieved 1 April 2013. which was relayed to cinemas and subsequently released on DVD. Seattle Opera produced its first-ever staging of Nabucco in August 2015.
Roles
+ Role Voice type Premiere cast, 9 March 1842Conductor: Eugenio CavalliniNabucco, King of BabylonbaritoneGiorgio RonconiAbigaille, supposedly his elder daughtersopranoGiuseppina StrepponiFenena, his daughtermezzo-sopranoGiovannina BellinzaghiIsmaele, nephew of Zedekiah, the King of JerusalemtenorCorrado MiragliaZaccaria, high priest of the JewsbassProsper DérivisAnna, Zaccaria's sistersopranoTeresa RuggeriAbdallo, Babylonian soldiertenorNapoleone MarconiHigh priest of BaalIn non-Italian-language productions, usually shown as priest to Baal. bassGaetano RossiPeople, soldiers
Instrumentation Nabucco is scored for two flutes (one doubling piccolo), two oboes (one doubling English horn), two clarinets, two bassoons, four horns, two trumpets, three trombones (two tenor, one bass), one cimbasso, timpani, bass drum, cymbals, side drum, triangle, two harps, strings, and an onstage banda.
Synopsis Time: 587 BC Place: Jerusalem and BabylonParts of this synopsis were first published on Opera japonica (; author: Simon Holledge) and appear here by permission.
Act 1: Jerusalem
'Thus saith the Lord, Behold, I shall deliver this city into the hand of the King of Babylon, and he will burn it with fire' (Jeremiah 21:10)
Interior of the Temple of Solomon
The Israelites pray as the Babylonian army advances on their city ("Gli arredi festivi giù cadano infranti" / "Throw down and destroy all festive decorations"). The High Priest Zaccaria tells the people not to despair but to trust in God ("D'Egitto là su i lidi" / "On the shores of Egypt He saved the life of Moses"). The presence of a hostage, Fenena, younger daughter of Nabucco, King of Babylon, may yet secure peace ("Come notte a sol fulgente" / "Like darkness before the sun"). Zaccaria entrusts Fenena to Ismaele, nephew of the King of Jerusalem and a former envoy to Babylon. Left alone, Fenena and Ismaele recall how they fell in love when Ismaele was held prisoner by the Babylonians, and how Fenena helped him to escape to Israel. Nabucco's supposed elder daughter, Abigaille, enters the temple with Babylonian soldiers in disguise. She, too, loves Ismaele. Discovering the lovers, she threatens Ismaele: if he does not give up Fenena, Abigaille will accuse her of treason. If Ismaele returns Abigaille's love, however, Abigaille will petition Nabucco on the Israelites' behalf. Ismaele tells Abigaille that he cannot love her and she vows revenge. Nabucco enters with his warriors ("Viva Nabucco" / "Long live Nabucco"). Zaccaria defies him, threatening to kill Fenena if Nabucco attacks the temple. Ismaele intervenes to save Fenena, which removes any impediment from Nabucco destroying the temple. He orders this, while Zaccaria and the Israelites curse Ismaele as a traitor.
Act 2: The Impious One 'Behold, the whirlwind of the Lord goeth forth, it shall fall upon the head of the wicked' (Jeremiah 30:23)
Scene 1: Royal apartments in Babylon
Nabucco has appointed Fenena regent and guardian of the Israelite prisoners, while he continues the battle against the Israelites. Abigaille has discovered a document that proves she is not Nabucco's real daughter, but the daughter of slaves. She reflects bitterly on Nabucco's refusal to allow her to play a role in the war with the Israelites and recalls past happiness ("Anch'io dischiuso un giorno" / "I too once opened my heart to happiness"). The High Priest of Baal informs Abigaille that Fenena has released the Israelite captives. He plans for Abigaille to become ruler of Babylon, and with this intention has spread the rumour that Nabucco has died in battle. Abigaille determines to seize the throne ("Salgo già del trono aurato" / "I already ascend the golden throne").
Scene 2: A room in the palace