Review: NABUCCO at Opera Wroclaw

Verdi’s music, with its signature emotional depth and complexity, once again graced the stage of Wrocław Opera, though this wasn’t the first time they’ve presented this 19th-century masterpiece. However, I wouldn’t say it was their best effort.

I know I know - saying I love Verdi's music is like ordering a Margherita pizza at an Italian restaurant - nothing original, and I sincerely appreciate the decision to bring this beloved opera back to life, to celebrate its global heritage and give audiences something they love. But… (and you know, when there’s a “but”, it’s never a good sign).

I always try to highlight the best aspects of shows because I truly believe that in every work of art, there is something that can move you, touch you, and connect you to something bigger, especially in the Opera House. I’m delighted to point out that my favorite moments were the ones where the women took the lead, so the chorus (Anna Grabowska-Borys), the children's chorus (Liliana Jedrzejczak), and costumes (Malgorzata Sloniowska).

Let’s dive in: I thoroughly enjoyed the choir - great as ever, they are solid as a rock - if rocks could sing in perfect harmony and steal the show. They’re moving and emotional, and they have this incredible ability to make me want to dance, cry, and feel nostalgic for my homeland (even though I’m still here!). When they sing “Va, pensiero,” it is (literally!) music to your ears.

I enjoyed the energy of the artists, particularly Karina Skrzeczewska as Abigaille and Jakub Michalski as Zaccaria. However (here we go) I left feeling disappointed by the direction and the lack of dynamic action. It seemed like the singers were static, not fully engaging with the space around them or the emotions of the moment. It felt as if rehearsals were too brief to take care of stage movement and creative ideas were limited. Sadly, this production doesn’t meet the high standards of our beloved Opera and it was almost boring (you don’t even know how sad I am to write this). Thankfully the music was so delightful that I could close my eyes and drift away, blissfully ignoring the static action(?) happening on stage.

The show is directed by the Opera’s director, Tomasz Janczak, in a classical style, featuring symbolic decorations and fitting costumes, which I appreciate. However, some parts should be filed under ‘Do Not Recall’ in the archives of my brain. At one point, there was an unexpected projection of modern dictators that felt too direct and kitschy for my taste. The large columns (the main element of scenography) moved slowly, creating a static ambiance that, combined with the lack of movement from the artists, made it feel overwhelmingly motionless. Such contrasts leave me feeling disappointed/confused. For me, the opera experience encompasses the music, movement, and action. Unfortunately, those last two elements were noticeably absent here.

I truly believe that strong art can stand up for itself; a masterpiece will endure through time. It makes me particularly sad when, instead of being showcased in a golden display case, a diamond is tucked away in a brown (or grey) paper bag.

Photo: Dariusz Gdesz

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