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Nabucco was Verdi’s third opera, and it’s 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 Verdi’s youthful enthusiasm. The role of Abigaille, Nabucco’s 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 ferociousl… More >>
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#1 by G.D. on May 26, 2010 - 12:56 am
If there’s still a Nabucco vs. Macbeth rivalry out there, I admit to coming in squarely on the Nabucco side. Verdi’s 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. Sinopoli’s), including what is possibly, in the role of Abigaille, the most difficult soprano role in the whole Verdi oeuvre. Sinopoli doesn’t exactly try to play down the slight whiff of vulgarity in the score, but that doesn’t mean he’s unsubtle -letting go of the reins of restraint in the more exhilarating parts is a virtue in this opera; it’s 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.
Rating: 5 / 5
#2 by Anonymous on May 26, 2010 - 3:26 am
This is an outsanding, first rate recording of Nabucco. Sinopoli’s tempos are admirably sensitive to the subject matters, and he conducts an orchestra that is full and vibrant.
Piero Cappuccilli in the title role sings with a large, almost roaring tone, that could not be more ideal for the role of Nabucco. Yet, he is musical in “Dio di Guida,” and in “Chi mi toglie il regio scettro?” his sense of line, musicality, and the way he caresses the phrases is undescribable and BEYOND AMAZING, it must be heard!
Ghena Dimitrova definetly has the power for the role of Abigaille, though to my ears her sound is somewhat thin a lot of the time.
Placido Domingo is good, and so is Evgeny Nesterenko. Furthermore, the others singers perform their roles well giving for an excellent interpretation of this peice.
Rating: 5 / 5
#3 by Birdfeeder on May 26, 2010 - 5:30 am
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?
Rating: 5 / 5
#4 by Ed Beveridge on May 26, 2010 - 6:45 am
This is probably the greatest recording of Nabucco available today, and stands alongside other classic operatic discs of recent times. There are certainly competitors – but for all Gobbi’s and Suliotis’ dramatic punch, their singing doesn’t quite match the demands Verdi makes. Sinopoli’s cast, however, sing up a storm and the opera is conducted with real verve. The sound quality achieves good balance, is perhaps on the “boxy” side but allows for excellent clarity, offsetting the intimate moments against the superbly sung choral scenes.
Capuccilli’s Nabucco is suitably regal, but has real plangency to his tone when the king is reduced to a slave. Nesterenko’s inky bass and forthright delivery make Zaccaria much more than a cipher (and rightly so, for he has some of the best music), and the young Domingo is ideally cast as a virile, passionate Ismaele – a character who can otherwise seem one dimensional and irritating. As his beloved, Fenena, Valentini Terrani sounds perhaps uninvolved but sings Fenena’s prayer in the last scene with distinction. The small role of Anna is sung by a very young – but distinctive – Lucia Popp. But the set is probably most remarkable for Dimitrova’s Abigaille, which is sung with simply awesome power. Very, very few sopranos can get through the role, yet Dimitrova tackles every one of the two octave leaps, vertiginous scales, and below staff growls Verdi throws at her with tireless, gleaming, ample tone. Even the tender side of Abigaille is manifested with some beautiful soft singing; this is one of the most remarkabe accomplishments I have heard on disc.
So – pending the release of the new Bruson-Guleghina recording that has made it into some of the shops, this really is the Nabucco to have. No other comes close for sheer quality and consistency across the performance.
Rating: 5 / 5
#5 by Fábio Brianezi Giraldez on May 26, 2010 - 9:33 am
Dimitrova is quite impressive as Abigaille. Sinopoli conducts with allucinating energy, i would say even too much. Dramatically, Gobbi and Suliotis are more interesting. this is my second choice for Nabucco.
Rating: 4 / 5