Ajouter une intrigue dans votre langueSet during the reign of Nebuchadnezzar (Nabucco), King of Babylon, the opera tells the tale of Nabucco's fictitious daughters, Abigaille and Fenena, who are rivals for the love of Ismaele, n... Tout lireSet during the reign of Nebuchadnezzar (Nabucco), King of Babylon, the opera tells the tale of Nabucco's fictitious daughters, Abigaille and Fenena, who are rivals for the love of Ismaele, nephew of the King of Jerusalem.Set during the reign of Nebuchadnezzar (Nabucco), King of Babylon, the opera tells the tale of Nabucco's fictitious daughters, Abigaille and Fenena, who are rivals for the love of Ismaele, nephew of the King of Jerusalem.
- Réalisation
- Scénario
- Casting principal
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Orchestre et Choeur de l'Opéra national de Paris
- Orchestre et choeurs
- (as Orchestre de les choeurs du Théatre National de l'Opéra de Paris)
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I love opera, and I especially love Verdi. Nabucco while not my favourite of his operas, probably La Traviata, is albeit with an obsolete but interesting story as it progresses no exception. It is filled with the typical magnificent Verdi tunes you would expect, with tunes such as Va Pansiero it makes one wonder why Nabucco(Verdi's first masterpiece in my opinion) isn't performed more often.
Watching this 1979 production has not made me change my perception. While the brilliant 1985 production with Renato Bruson and Ghena Dimitrova is better being more dramatically powerful, the production benefits from fine singing and spectacular production values. My only real complaint is to do with a few moments of static staging, which diminishes the drama.
That said, the setting is truly wonderful, and the costumes are decent enough if garish. The orchestra play with real finesse complete with lively and musical conducting. The acting and singing is great and elevates the production to a higher level. The standout in as I said in my review of the 1985 production a very difficult role is Grace Bumbry as Abigaille, who is very believable dramatically and shows a limpid and beautifully tailored voice and technique. Ruggero Raimondi and Carlo Costa also impress, and Sherrill Milnes(who I will always admire no matter what is said about him) gives a very moving lead performance.
Overall, very good especially for the singing and music. 8/10 Bethany Cox
Watching this 1979 production has not made me change my perception. While the brilliant 1985 production with Renato Bruson and Ghena Dimitrova is better being more dramatically powerful, the production benefits from fine singing and spectacular production values. My only real complaint is to do with a few moments of static staging, which diminishes the drama.
That said, the setting is truly wonderful, and the costumes are decent enough if garish. The orchestra play with real finesse complete with lively and musical conducting. The acting and singing is great and elevates the production to a higher level. The standout in as I said in my review of the 1985 production a very difficult role is Grace Bumbry as Abigaille, who is very believable dramatically and shows a limpid and beautifully tailored voice and technique. Ruggero Raimondi and Carlo Costa also impress, and Sherrill Milnes(who I will always admire no matter what is said about him) gives a very moving lead performance.
Overall, very good especially for the singing and music. 8/10 Bethany Cox
Being something of a novice when it comes to opera, this is the first full version of Nabucco I have seen. I checked the DVD out from the library, and although the picture quality isn't excellent, the sound recording definitely makes this version worthy of its DVD release. The music and singing are absolutely top-notch, more than making up for a silly, bumbling and boring story. I recommend watching this without the subtitles, as the text will only distract, and detract, from the music.
The best singer here is Abigaille (Grace Bumbry), but the entire cast have fine voices. Verdi is to opera what Shakespeare is to literature, and his singular talent for opera is demonstrated by the way this composer always gives precedence to the voices. The music, suitably great and grand as it is, always plays back-up to the voices, never drowning them out like certain other composers one might mention (*cough* Wagner *cough*).
I rate this production a humble 7 out of 10, for although very little is wrong with the music, the scenography is less than innovative. It is classical, to be sure, but Nabucco is one of those operas that do not benefit from a classical production, because the story is obsolete and not very interesting in its original form. Turning it into some sort of flashy avant-garde surrealist exercise, as I understand is done in many subsequent productions, serves this tale far better. What's important to modern stagings of this opera in particular is to maintain the music, and keep reinventing the setting so that it backs up the music and singing through innovative and imaginative visual impressions. Forget the story and the meaning of the lyrics and focus on amplifying the emotional impact of the brilliant music and the voices.
The best singer here is Abigaille (Grace Bumbry), but the entire cast have fine voices. Verdi is to opera what Shakespeare is to literature, and his singular talent for opera is demonstrated by the way this composer always gives precedence to the voices. The music, suitably great and grand as it is, always plays back-up to the voices, never drowning them out like certain other composers one might mention (*cough* Wagner *cough*).
I rate this production a humble 7 out of 10, for although very little is wrong with the music, the scenography is less than innovative. It is classical, to be sure, but Nabucco is one of those operas that do not benefit from a classical production, because the story is obsolete and not very interesting in its original form. Turning it into some sort of flashy avant-garde surrealist exercise, as I understand is done in many subsequent productions, serves this tale far better. What's important to modern stagings of this opera in particular is to maintain the music, and keep reinventing the setting so that it backs up the music and singing through innovative and imaginative visual impressions. Forget the story and the meaning of the lyrics and focus on amplifying the emotional impact of the brilliant music and the voices.
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