Roundtable sets the stage for ‘Nabucco’
Por Jeff Britton
“The Artists Roundtable” allows singers, the director and the conductor to share their take on each character, the musical challenges and the overall context of the opera. At last week’s discussion of “Nabucco,” Verdi’s first hit opera, participants touched on a variety of subjects, including how the opera and its famous Hebrew chorus, “Va, Pensiero,” became a hymn to Italian nationalism. The 55-minute impromptu chat was moderated by Nick Reveles, the company’s personable and articulate education director.
“Nabucco” is the story of the Babylonian king Nebuchadnezzar, whose destruction of the Hebrew temple in Jerusalem spells impending doom for the Israelites. Ismaele, nephew of the Hebrew king, is put in charge of Fenena, Nabucco’s actual daughter, and, of course, in true operatic fashion, they fall madly in love.
This being Italian opera, that is only the beginning of the dramatic twists and turns that concern Abigaille, Nabucco’s supposed daughter and heir to his throne, and Zaccaria, the valiant Hebrew high priest who defends his people from her death warrant.
“She’s kind of a baddie,” summed up French soprano Sylvie Valayre of Abigaille. “She is very unhappy because she thinks she is the daughter of a king and, in fact, is the daughter of slaves.”
Valayre thrilled audiences last season in the title role of “Tosca” and the musical challenges in “Nabucco” have brought down many a less talented singer in other productions. The high tessitura required in the role is as daunting as the low range in juxtaposition. It also matches the character’s erratic temperament.
“These are the kind of characters who are heroic but mentally disturbed,” added Valayre. “She’s crazy—definitely, because she thinks she has to be a warrior.”
Of Ismaele, tenor Arthur Shen chimed in that he has his own sort of problems: “He represents pure love while Abigaille has blind ambition. He’s the captain of the Hebrew army who has fallen in love with a Babylonian girl. He’s disgraced by the Jews but enjoys a wonderful redemption.”
Susanna Poretsky as his beloved observed that as the real daughter of Nabucco, she doesn’t have to do anything to earn the love of her father or Ismaele, and notes that the decency of Zaccaria prompts her to convert to Judaism.
Testament to the opera’s vocal challenges was made by the stentorian-voiced Raymond Aceto, the bass who portrays Zaccaria: “In this opera, the bass is more than the third dude from the left,” citing three arias he sings in widely differing styles. “The first is a cantabile with chorus, then “The Prayer,” which has the most beautiful long legato lines, very mellifluous. It demands virtuosity.”
He describes his character as a rock among his people who always stays centered and true to his religious convictions. Musically, Aceto feels that the opera became a patriotic piece in that Verdi brought a revival of Italian cultural traditions.
“In ‘Nabucco,’ Verdi’s just starting to write for the heroic baritone,” weighs in Richard Paul Fink, who sings the title role as a replacement for the indisposed Zeljko Lucic. “You can always feel the mood and energy in the music. He lets you soar.”
As for his character’s mental disposition, things are not as lyrical: “He’s very strong-willed and so full of himself that he declares himself a god. He becomes the handicapped person who can’t see what’s going on. After he has a vision in prison of how his people will suffer, his transformation through insanity to a man who has been redeemed is a fascinating acting experience.”
Director Lofti Mansouri concurs. “All of the characters have their own personal journeys. Abigaille loses the man she loves but learns to forgive. Verdi always finds the emotional truth in each character and for a stage director this opera is a great honor.”
All agree that this is first and foremost a choral opera. Verdi earned the title “padre del coro” (father of the chorus) and he developed the chorus as a dramatic power, Mansouri observed. Veteran Verdi conductor Edoardo Muller conducts the San Diego Symphony.
“There is a call and refrain style that is quite liturgical,” moderator Reveles said. “Every character has a prayer which makes it very spiritual,” he said, noting that the famous “Va, Pensiero” is full of liturgical supplication and lamentation. “Many of the prayers border on Catholicism,” Mansouri added.
As for Fink as a last-minute Nabucco, the noted Wagnerian claims that had he not had as much experience with many other Verdi operas he would not be as confident. After four days of intensive practice with the director of his hometown Houston Opera, he jumped into rehearsals.
“They have all been so supportive by giving me free reign, but also reigning me in from time to time,” he concluded with a chuckle.u
“Nabucco” plays Feb. 20, 23, 26 and 28 at the Civic Theatre in downtown San Diego. (619) 533-7000 or www.sdopera.com
