Review: NABUCCO at Sarasota Opera

Giuseppe Verdi's Nabucco is an Italian-language opera set in four acts. The libretto, by Temistocle Solera was inspired by the books of Daniel and Jeremiah in the Bible, dramatizing the story of the exile of the Israelites from their homeland by the Babylonian King Nebuchadnezzar. It is an interesting infusion of Biblical references, politics, romance and greed.

Act l is titled Jerusalem. At curtain rise we are in the Temple of Solomon. The scripture reference is, 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)

The Israelites pray as the Babylonians, led by their king Nabucco (Stephen Gaertner), moves to take over the city. The Hebrews High Priest Zaccaria (Kevin Short) assures them to trust in God and not despair. Nabucco's daughter Fenena (Lisa Chavez) is taken hostage and entrusted to Ismaele (Ben Gulley), the King of Jerusalem's nephew. Zaccariah is unaware that Ismaele and Fenena are in love after she freed him from prison in the past. She also protected him from unwanted romantic advances of her sister Abigaille (Rochelle Bard). When Abigaille and the Babylonian army advance the temple through a secret passageway, she finds Ismaele and Fenena alone. The amy takes over the temple and Abigaille vows vengeance against Ismaele and Fenene. Zaccariah threatens to kill Fenena but Ismaele saves her.

Act ll titled The Wicked One, takes us to the royal apartment in Babylon. The scripture reference is, Behold, the whirlwind of the Lord goeth forth, it shall fall upon the head of the wicked. (Jeremiah 30:23) In Scene l Abigaille discovers a document that states she is not Nabucco's daughter but the offspring of slaves. The High Priest of Baal (James Eder), tells Abigaille that Fenena freed the Jews. Abigaille then plots to take the throne away. In Scene ll, in a hall in the palace, Fenena converts to Judaism under Zaccaria's direction. While rumored that Nebucco is dead, Abigaille demands her sister steps down but Fenena will not abdicate the throne. To everyone's surprise, Nabucco breaks up the crowd, grabs his crown and places it on his head. He declares himself god and demands all worship him. Abigaille then seizes the crown faulting him with insanity.

Act lll, titled The Prophesy, uses the scripture reference, Therefore the wild beasts of the desert with the wild beasts of the islands shall dwell there, and the owls shall dwell therein. (Jeremiah 50:39). We are in the Hanging Garden in Scene 1 where the High Priest of Baal asks Abigaille to sign documents ordering the execution of the Hebrews, including her sister Fenena. Abigaille tricks Nabucco into signing the warrant. He wants Fenena spared but Abigaille points out that Fenena converted, is now a Jew and must die by his own hand that signed the documents. Although Nabucco threatens to show everyone Abigaille's true lineage, it is no surprise to her and she seizes the paperwork he had as proof and shreds it. In Scene ll on the banks of the Euphrates the Hebrews long for their homeland and Zaccaria once again pleads with them them to have faith that God will destroy Babylon.

Act lV titled The Shattered Idol, the scripture reference is, Bel is confounded, Merodach is broken to pieces; her idols are confounded, her images are broken in pieces. (Jeremiah 50:2). Scene l takes us back to the royal apartments in Babylon where Nabucco awakens but is still confused. Fenena now in chains is being prepared for her execution. Nabucco prays to God, asking for forgiveness, promising to rebuild the temple in Jerusalem and assuring God he will convert to Judaism. Miraculously Nabucco's physical and mental capacities are restored. Abdallo (Samuel Schlivert), an official of the King of Babylon, and loyal soldiers release him. Nabucco is now determined to rescue Fenena and the Israelites and punish any traitors.

Scene ll titled The Hanging Gardens of Babylon, finds Fenena and the Israelite prisoners are being led in their execution. Nabucco, his soldiers and Abdallo storm in as Nabucco declares that he will rebuild the Temple of Jerusalem and worship the God of the Israelites. Upon ordering the destruction of the idol of Bel, the idol falls to the ground of its own accord and breaks into pieces. (This was a jolting scene no one was ready for and quite impressive). Nabucco declares the Israelites are free and all join in praise of Jehovah. Abigaille who had poisoned herself earlier enters and begs forgiveness of Fenena, prays for God's mercy and dies. Zaccaria proclaims Nabucco the servant of God and king of kings.

In doing some research I found that Nabucco is the opera, which is considered to have permanently established Verdi's reputation as a composer. He commented, "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". Known for the beautiful "Chorus of the Hebrew Slaves", "Va, pensiero, sull'ali dorate", ("fly, thought, on golden wings"), the chorus was staged as a tableau - perfect placement of each member, reminiscent of the Last Supper. There was something very spiritual and riveting about that scene. Although they were singing, the staging was so powerful it looked like a picture frozen in time, and definitely engrained in the memory of anyone who saw this splendid production.

Soprano Rochelle Bard was an intimidating Abigaille with her powerful vocal range and mastery of her character. Mezzo Lisa Chavez's portrayal of Fenena was as strong as her beautiful voice. Stephen Gaertner dynamic baritone vocals powered through the gamut of emotions as Nabucco, moving from intense to frail, to deranged, then composed and in control. Kevin Short as Zaccaria harnessed the deepest notes I'm pretty sure aren't even on the scale. Ben Gulley lent his accomplished acting and tenor pipes to Ismaele that rounded off the cast beautifully.

Stage director Martha Collins kept the pace at an even flow with a steady cast of interesting characters interacting throughout the production. Howard Tsva Kaplan's spectacle of color in costume design was on point displaying disparate modesty in comparison to overstated wealth. Scenic designer Jeffrey W. Dean was masterful in his interchangeable set design that took us inside beautifully appointed rooms and immaculate, stepped Hanging Gardens with overflowing flowers and brilliant sunsets. My only complaint is not with the production but with the writing. It called for two intermissions and several pauses that made the piece too distracting and choppy for me.

Under the consummate direction of Conductor Victor DeRenzi, the Sarasota Opera Orchestra shined once again through difficult pieces showing their accomplished repertoire of diversity playing warlike music, marches and a funeral dirge. Upbeat rhythms were beautifully contrasted by dramatic scores undergirding various paces and scenes throughout the program. Conductor DeRenzi called for an encore of the Chorus of the Hebrew Slaves during the performance that was simply perfection.

For more information on Sarasota Opera, visit www.sarasotaopera.org.

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