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Nabucco was Verdis third opera, and its filled with one great, energy-filled melody after another if the drama is a bit crude (the characters are one-dimensional at best), the emotions are sincere and the passions run high enough to make one forgive Verdis youthful enthusiasm. The role of Abigaille, Nabuccos evil daughter, is a voice-wrecker, but the animal-like Ghena Dimitrova sounds as if she could sing it in her sleep. She hurls the high Bs and Cs at us as ferociously as the Bs and Cs two octaves lower--this is a stunner of a performance. As the title character, Piero Cappuccilli sings with his usual big, unsubtle tone one wishes for more sensitivity. Placido Domingo, who will apparently sing anything written in the tenor clef, makes as much of the little part of Ismaele, and bass Evgeny Nesterenko fills out the High Priests music superbly. Giuseppe Sinopolis leadership is probing, nuanced, and, when needed, as big as all outdoors. This is a pip of a performance, highly recommended. --Robert Levine
Rate Points :5.0
Binding :Audio CD
Label :Deutsche Grammophon
Manufacturer :Deutsche Grammophon
MPN :410512
ProductGroup :Music
Studio :Deutsche Grammophon
Publisher :Deutsche Grammophon
UPC :028941051226
EAN :0289410512260
Price :$33.98USD
Lowest Price :$16.84USD
Customer ReviewsMore than Exciting
Rating Point :5 Helpful Point :10
I have listened to a few versions of this opera, even pirated scenes with Maria Callas. It is really an opera of vitality. Verdi may have still had many crudities in the way he wrote. He may have even been over the top at times. Yet, he is unmistakeably exciting. As he third attempt at opera, I would say, even if he did use the "required styles of the day" he produced a wonderfully vivid work. Of course, the characters are one dimensional (if even that deep), but they are exciting and enjoyable. The sound is excellent, and the singing is every bit on par with the excitement of the music. Of course, the person who makes the opera is Ghena Dimitrova, and not because anyone else is less good. They are all great! She just seems to make that voice-wrecker music seem easy, and even gentle on the voice. There is no strain at all! However, I read somewhere when this recording was first reviewed that she had been ill, and that making the recording was difficult. I have no clue if that is true, but I can assure anyone who buys this recording, if it is, they will not be able to tell. She blazes through the role and carries you away. Just for those who are not familiar with her in real life performances, she has a voice that would knock your socks off. It is HUGE! It isnt just loud, and seemingly could go on for ever getting louder and louder without difficulty or strain. It is EXCITING! She can also draw back the sound to a whisper, like Caballe, and send a tingle up your spine. This recording gets close to sharing those real life experiences with the listener. This is well worthy the money!
Bible Opera Packs A Punch
Rating Point :5 Helpful Point :7
Verdis first big hit was Nabucco, based on the biblical account of the Hebrew captivity in Babylon by the imperious and vainglorious King Nebuchenessar. Nabucco is the Italian form of that name. While this is HIS opera, the web of characters form a powerful theme of love and thirst for power and longing for freedom. Isrele is the tenor part, a young Hebrew slave, in love with Ferena, sung by a mezzo soprano. Abigaille is the wicked daughter of King Nabucco, and her role is regarded as the most fiendishly difficult soprano role Verdi ever wrote, full of thunderous declamations high above C, and fully lyric with strong chest register. The cast in this early 80s recording is a dream cast, making this the best studio recording of Nabucco available today. Placido Domingo is singing a part that is not really the star, but he sings with passionate intensity and all his usual radiant flair. His was a voice that Verdi wrote for tenors, and Domingo himself considered Verdi to be his strongest vehicle as a tenor. In this recording we dont get the masculine ardor of Aidas Radames, or the refinement and passion of Alfredo in Traviata or the intensity of Otello nor even the ingellect of a Don Carlo or Don Alvaro from Forza Del Destino, but we have a fine character with religiosity and romantic feelings. The arias are well-executed by Domingo. He keeps up with the faster portions of the music. It seems to me listening to all this - Verdi was really trying desperately to make a hit. He had not had any success prior to this opera. The music is very dramatic, with far too many fortissimos even. Every aria and ensemble ends in such a BANG that it would seem the opera ends earlier than it should. Of course, the Overture is lovely. The highlights of this opera include great choruses. The first one in Act 1 and the more famous Va Pensiero, the Hebrews cry for freedom which even rises to nationalistic Italian heights.
Other than the tremendous talents of Placido Domingo, this recording is blessed with the fine voice of bass-baritone Piero Cappuccili in the eponymous role. As Nabucco, the evil, arrogant king, he is majestic and sometimes paternal (Verdi baritones ALWAYS sound paternal and it doesnt help that the music written fo them are mellow). Cappucilli is another great Verdi singer that together with Domingo make this recording exceptional. Opposite the more dragon-lady-like Ghena Dimitrova, he seems to be weak though....as in the scene "Prisoner ? Si! Prisioner SI!!"
But Cappuccili holds his own and is in fine shape in this recording. He is also the best Macbeth, and his voice is prominently displayed in a DG recording he sang opposite Shirley Verrets imperious Lady Macbeth.
The ladies in this recording are electrifying. Ghena Dimitrova, a Bulgarian-born soprano, is the best Abigaille ever recorded or performed. Not even Callas reaches the technical bravura and character integrity she essays. Her voice is strong, full and powerful. It is even said that Dimitrova had the highest and strongest dramatic soprano voice. Her career was short-lived because of all the intense roles she sang (Turandot, Tosca, Norma, Lady Macbeth). Abigaille she sang numerous times and it was even her signature role. Mezzo soprano Lucia Valentini-Terrani is prolly the weakest in the bunch, but she masters the role of Ferena with aplomb. I cant complain. I love everything about this recording, including the somewhat wooden Terrani. This recording deserves more recognition. Opera lovers go out and get this recording. Pass it on.....
comment to (editorial) reviews
Rating Point :5 Helpful Point :1
In your editorial you call Nesterenko a superb High Priest. I believe he was playing the role of Zaccaria, while the High Priest was sung by Kurt Rydl.
In the the review below I read "the very young Domingo and Lucia Popp shining in the early stages of their careers". According to my information Domingo was 41 at the time (same age as Dimitrova, by the way), while Lucia Popp was even 2 years older. Are we talking about the same performance?
Exhilarating
Rating Point :5 Helpful Point :0
If theres still a Nabucco vs. Macbeth rivalry out there, I admit to coming in squarely on the Nabucco side. Verdis third opera - and the first to really show his originality, despite being somewhat rough orchestration-wise - is a highly dramatic, energetic work (at least in the right hands, e.g. Sinopolis), including what is possibly, in the role of Abigaille, the most difficult soprano role in the whole Verdi oeuvre. Sinopoli doesnt exactly try to play down the slight whiff of vulgarity in the score, but that doesnt mean hes unsubtle -letting go of the reins of restraint in the more exhilarating parts is a virtue in this opera its supposed to be a little crash and bang. The Berlin State Opera Orchestra and Chorus follow suit, making for a thrilling experience.
But, of course, the singing is the crucial factor, and I am happy to say I have nothing but praise. Cappuccilli might not rival Gobbi for color and assuredness in the role of the deranged king, but he still gives us a good portrait. The famous Dio di Giuda! is amazingly done. But even he is overshadowed by Dimitrova, whose Abigaille must surely be a candidate for the most riveting performance ever - simply breath-taking. Domingo is also eminently satisfying as Ismaele, so is Nesterenko, and the smaller roles are splendidly sung as well.
Completed with good sound, I think this set is hard to beat - it is surely the most energetically exciting account around, and the singing of Dimitrova must be heard.
Brava Dimitrova!!
Rating Point :5 Helpful Point :3
Ive listened happily for many years to the Gardelli/Gobbi/Suliotis Nabucco. That version is so great, that I only listened to this one to hear Sinopoli. Well, this one is just a great. Neither is perfect, but theyre both so damned good, you really cant go wrong with either.
Of special interest in this Nabucco are the very young Domingo and Lucia Popp shining in the early stages of their careers. But they are definitely not the main players in this opera (although Domingo does have the tenor lead). Comparing the two, I prefer Gobbis Nabucco, but I find no real fault with Cappuccillis voice or portrayal.
I thought that Abigaille belonged to the late Elena Suliotis (who did sound at times very much like Callas), but Ghena Dimitrova was a revelation. She is just superb as the mostly evil (till the very end when dying) role of the spurned Abigaille, the apparent daughter of the Nebuchadnezzar, but who is really the daughter of slaves! (Let me know if you find this twist in the Bible! Just possibly the story has been enhanced a bit for both dramatic and political reasons.)
Suliotis may have a slight edge dramatically, but I think the edge goes to Dimitrova vocally in this very demanding role. Powerful and dynamic and displaying great technique and vocal agility (as described by other reviewers), she is also softly touching and sings beautifully in such arias as "Anchio dischiuso un giorno."
Why did I wait so long to listen to this Nabucco! It truly flies on golden wings.
Oh, yeah, and Sinopoli definitely didnt disappoint.
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