Nabucco

Giuseppe Verdi, lithograph by Roberto Focosi, c. 1840

Librettist Temistocle Solera

The success of Verdi's first opera, Oberto, led Bartolomeo Merelli, La Scala's impresario, to offer Verdi a contract for three more works. After the failure of his second opera Un giorno di regno (completed in 1840 towards the end of a brutal two-year period during which both of his infant children and then his 26-year-old wife died), Verdi vowed never to compose again.[2]

In "An Autobiographical Sketch", written in 1879, Verdi tells the story of how he came to be twice persuaded by Merelli to change his mind and to write the opera.[2] The duration of 38 years since the event may have led to a somewhat romanticized view; or, as Verdi scholar Julian Budden writes: "he was concerned to weave a protective legend about himself [since] it was all part of his fierce independence of spirit."[3] However, in Volere è potere ("Where there's a will ...") – written ten years closer to the event – the zoologist Michele Lessona provides a different account of the events, as allegedly recounted by Verdi himself.[4][3]

After a chance meeting with Merelli close to La Scala, the impresario gave him a copy of Temistocle Solera's libretto which had been rejected by the composer Otto Nicolai.[2] Verdi describes how he took it home, and threw "it on the table with an almost violent gesture. ... In falling, it had opened of itself; without my realising it, my eyes clung to the open page and to one special line: 'Va, pensiero, sull'ali dorate'."[5]

While it has been noted that "Verdi read it enthusiastically"[6] (and certainly he states that, while he attempted to sleep, he was kept awake and read and re-read the libretto three times), others have stated that he read the libretto very reluctantly[7] or, as recounted by Lessona, that he "threw the libretto in a corner without looking at it anymore, and for the next five months he carried on with his reading of bad novels ... [when] towards the end of May he found himself with that blessed play in his hands: he read the last scene over again, the one with the death of Abigaille (which was later cut), seated himself almost mechanically at the piano ... and set the scene to music."[4][3][6]

Nevertheless, Verdi still refused to compose the music, taking the manuscript back to the impresario the next day. But Merelli would not accept the refusal; he immediately stuffed the papers back into Verdi's pocket and according to the composer, "not only threw me out of his office, but slammed the door in my face and locked himself in".[5] Verdi claims that gradually he worked on the music: "This verse today, tomorrow that, here a note, there a whole phrase, and little by little the opera was written"[5] so that by the autumn of 1841 it was complete.[5] At the very least, both Verdi's and Lessona's versions end with a complete score.[4][3]

Nabucco is scored for two flutes (one doubling piccolo), two oboes (one doubling English horn), two clarinets in A, two bassoons, four horns in D, two trumpets in D, three trombones (two tenor, one bass), one cimbasso, timpani, bass drum, cymbals, side drum, triangle, two harps, strings, and an onstage banda.[25]

Time: 587 BC

Place: Jerusalem and Babylon[26]

Act 1: Jerusalem

A scene from act 1

'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)

Interior of the Temple of Solomon

The Israelites pray as the Babylonian army advances on their city ("Gli arredi festivi giù cadano infranti" / "Throw down and destroy all festive decorations"). The High Priest Zaccaria tells the people not to despair but to trust in God ("D'Egitto là su i lidi" / "On the shores of Egypt He saved the life of Moses"). The presence of a hostage, Fenena, younger daughter of Nabucco, King of Babylon, may yet secure peace ("Come notte a sol fulgente" / "Like darkness before the sun"). Zaccaria entrusts Fenena to Ismaele, nephew of the King of Jerusalem and a former envoy to Babylon. Left alone, Fenena and Ismaele recall how they fell in love when Ismaele was held prisoner by the Babylonians, and how Fenena helped him to escape to Israel. Nabucco's supposed elder daughter, Abigaille, enters the temple with Babylonian soldiers in disguise. She, too, loves Ismaele. Discovering the lovers, she threatens Ismaele: if he does not give up Fenena, Abigaille will accuse her of treason. If Ismaele returns Abigaille's love, however, Abigaille will petition Nabucco on the Israelites' behalf. Ismaele tells Abigaille that he cannot love her and she vows revenge. Nabucco enters with his warriors ("Viva Nabucco" / "Long live Nabucco"). Zaccaria defies him, threatening to kill Fenena if Nabucco attacks the temple. Ismaele intervenes to save Fenena, which removes any impediment from Nabucco destroying the temple. He orders this, while Zaccaria and the Israelites curse Ismaele as a traitor.

Act 2: The Impious One

'Behold, the whirlwind of the Lord goeth forth, it shall fall upon the head of the wicked' (Jeremiah 30:23)

Scene 1: Royal apartments in Babylon

Nabucco has appointed Fenena regent and guardian of the Israelite prisoners, while he continues the battle against the Israelites. Abigaille has discovered a document that proves she is not Nabucco's real daughter, but the daughter of slaves. She reflects bitterly on Nabucco's refusal to allow her to play a role in the war with the Israelites and recalls past happiness ("Anch'io dischiuso un giorno" / "I too once opened my heart to happiness"). The High Priest of Bel informs Abigaille that Fenena has released the Israelite captives. He plans for Abigaille to become ruler of Babylon, and with this intention has spread the rumour that Nabucco has died in battle. Abigaille determines to seize the throne ("Salgo già del trono aurato" / "I already ascend the golden throne").

Scene 2: A room in the palace

Nabucco's mad scene with Bastiaan Everink in the title role

Zaccaria reads over the Tablets of Law ("Vieni, o Levita" / "Come, oh Levite!"), then goes to summon Fenena. A group of Levites accuse Ismaele of treachery. Zaccaria returns with Fenena and his sister Anna. Anna tells the Levites that Fenena has converted to Judaism, and urges them to forgive Ismaele. Abdallo, a soldier, announces the death of Nabucco and warns of the rebellion instigated by Abigaille. Abigaille enters with the High Priest of Bel and demands the crown from Fenena. Unexpectedly, Nabucco himself enters; pushing through the crowd, he seizes the crown and declares himself not only king of the Babylonians but also their god. The high priest Zaccaria curses him and warns of divine vengeance; an incensed Nabucco in turn orders the death of the Israelites. Fenena reveals to him that she has embraced the Jewish religion and will share the Israelites' fate. Nabucco is furious and repeats his conviction that he is now divine ("Non son più re, son dio" / "I am no longer King! I am God!"). A crashing thunderbolt strikes Nabucco down, and he promptly loses his senses. The crown falls from his head and is picked up by Abigaille, who pronounces herself ruler of the Babylonians.

Nabucco in Eberswalde by the Silesian Opera, August 2004

The historical Nebuchadnezzar II (c. 634–562 BC) took Jerusalem in 597 BC, but the madness plot of the opera differs from both archeological and biblical records of him. In the Book of Daniel, his madness lasts for seven years before his conversion to Judaism.[27] But in the opera it only lasts for the time between the order to kill Fenena and the Jews, and it being carried out.

The biblical story of seven years of madness followed by conversion bears more similarity to the Dead Sea Scrolls' story of Nabonidus (556–539 BC), father of Belshazzar in the Cylinders of Nabonidus, than to the historical Nebuchadnezzar.[28] Nabonidus was the last king of Babylon, five kings later than Nebuchadnezzar, and Belshazzar was a temporary regent during Nabonidus' reign.

Historical and biblical records agree that the Jews were freed and their temple was rebuilt not by the Babylonians but by Cyrus the Great following his conquest of Babylon in 539 BC. [29] The opera's Nabucco character is thus a composite of historical and biblical Nebuchadnezzar II, Nabonidus and Cyrus.[27][28][29]

Babylonians addressed their own god as "Bel" (Italian: Belo), related to the deity Marduk, who assumed the title of "lord" after his exaltation. The title "Bel" was in fact used also in connection with Nergal.[30]

The opera was an instant success, dominating Donizetti's and Giovanni Pacini's operas playing nearby. While the public went mad with enthusiasm, the critics tempered their approval of the opera. One critic who found Nabucco revolting was Otto Nicolai, the composer to whom the libretto was first offered. A Prussian, Nicolai felt at odds with emotional Italian opera while he lived near Milan. After refusing to accept the libretto proposal from Merelli, Nicolai began work on another offer called Il Proscritto. Its disastrous premiere in March 1841 forced Nicolai to cancel his contract with Merelli and return to Vienna. From there he learned of the success of Nabucco and was enraged. "Verdi's operas are really horrible," he wrote. "He scores like a fool – technically he is not even professional – and he must have the heart of a donkey and in my view he is a pitiful, despicable composer ... Nabucco is nothing but "rage, invective, bloodshed and murder."[31] However, Nicolai's opinions were in the minority. Nabucco secured Verdi's success.[2]

At the 1845 premiere of the opera in Paris critics complained about the excessive use of brass instruments and this word play epigram appeared:[32]

Music historians have perpetuated a powerful myth about the famous "Va, pensiero" chorus sung in the third act by the Hebrew slaves. Scholars have long believed the audience, responding with nationalistic fervor to the slaves' powerful hymn of longing for their homeland, demanded an encore of the piece. As encores were expressly forbidden by the Austrian authorities ruling northern Italy at the time to prevent public protests,[33] such a gesture would have been extremely significant. However, recent scholarship puts this and the corresponding myth of "Va, pensiero" as the national anthem of the Risorgimento to rest. Although the audience did indeed demand an encore, it was not for "Va, pensiero" but rather for the hymn "Immenso Jehova", sung by the Hebrew slaves in act 4 to thank God for saving his people. In light of these revelations, Verdi's position as the musical figurehead of the Risorgimento has been correspondingly revised.[34][35] At Verdi's funeral however, the crowds in the streets spontaneously broke into "Va, pensiero".[36] When his body was moved to the crypt of the Casa di Riposo, "Va, pensiero" was conducted by Arturo Toscanini with a chorus of 820 singers, with a crowd of estimated 300,000 in attendance.[37]

The overture, often played outside the context of the complete work in orchestral concerts, mostly consists of themes from the opera, including the Chorus of Hebrew Slaves and the warlike music when the Israelites curse Ismaele for his betrayal. A stage band is used extensively in the opera, both for the march accompanying Nabucco on his arrival and for Fenena's funeral march. Propulsive energetic rhythms are a notable feature of much of the music, contrasted with more lyrical moments, providing dramatic pace. Both the bass Zaccaria in his prayer "Vieni o Levita", a quiet piece with the unusual accompaniment of six cellos, and the baritone Nabucco in his mad scene and other passages, are given music of great expressiveness, providing outstanding opportunities for the singers, but the tenor role of Ismaele is comparatively minor, unusual for a Verdi opera. The music for Abigaille is extremely demanding, requiring a soprano who can sing both very low and very high with dramatic force and is also capable of virtuoso vocal decoration. More than any of the soloists, however, the chorus, used in a new and dramatic fashion, is at the centre of the opera.[38]

Notes

Cited sources

• Budden, Julian (1973). The Operas of Verdi. Vol. 1. London: Cassell. pp. 89–112. ISBN 0-304-31058-1.
• Budden, Julian (1985). Verdi. The Master Musicians. London: J. M. Dent & Sons. (The book refers to 'Teatro Giglio of Corfu', but there was never a theatre with this name in Corfu.)
• Kimbell, David (2001). Holden, Amanda (ed.). The New Penguin Opera Guide. New York: Penguin Putnam. ISBN 0-14-029312-4.
• Lessona, Michele (1869). "Parma: Giuseppe Verdi". Volere è potere (in Italian). Florence: G. Barbèra. pp. 287–307.
• Parker, Roger (1997). Leonora's Last Act: Essays in Verdian Discourse. Princeton: Princeton University Press. ISBN 0-691-01557-0.
• Parker, Roger (14 May 2007). Verdi and Milan (Lecture given at Gresham College, London; includes details of Nabucco). Archived from the original on 12 October 2008. Retrieved 2 August 2007.
• Phillips-Matz, Mary Jane (1993). Verdi: A Biography. New York and Oxford: Oxford University Press. ISBN 0-19-313204-4.
• Phillips-Matz, Mary Jane (2004). "Verdi's life: a thematic biography". In Balthazar, Scott E. (ed.). The Cambridge Companion to Verdi. Cambridge: Cambridge University Press. pp. 3–14. ISBN 978-0-521-63535-6.
• Werfel, Franz; Stefan, Paul (1973). Verdi: The Man and His Letters. New York: Vienna House. ISBN 0-8443-0088-8.
• Martin, George Whitney (1979). "'Autobiographic Sketch' and Nabucco". Verdi: His Music, Life and Times. Da Capo Press. ISBN 9780306795497.

• Baldini, Gabriele (1970), (trans. Roger Parker, 1980), The Story of Giuseppe Verdi: Oberto to Un Ballo in Maschera. Cambridge, et al: Cambridge University Press. ISBN 0-521-29712-5
• De Van, Gilles (trans. Gilda Roberts) (1998), Verdi’s Theater: Creating Drama Through Music. Chicago & London: University of Chicago Press. ISBN 0-226-14369-4 (hardback), ISBN 0-226-14370-8
• Osborne, Charles (1969), The Complete Opera of Verdi, New York: Da Capo Press, Inc. ISBN 0-306-80072-1
• Parker, Roger (2007), The New Grove Guide to Verdi and His Operas, Oxford & New York: Oxford University Press. ISBN 978-0-19-531314-7
• Parker, Roger (1988), Nabucco, critical edition, Center for Italian Studies, University of Chicago. Retrieved 7 April 2013.
• Parker Roger, (ed) (1988), "Nabucodonosor": Dramma Lirico in Four Parts by Temistocle Solera (the works of Giuseppe Verdi), Chicago: University of Chicago Press, 1988 ISBN 978-0-226-85310-9 ISBN 0-226-85310-1
• Pistone, Danièle (1995), Nineteenth-Century Italian Opera: From Rossini to Puccini, Portland, Oregon: Amadeus Press. ISBN 0-931340-82-9
• Toye, Francis (1931), Giuseppe Verdi: His Life and Works, New York: Knopf
• Walker, Frank, The Man Verdi (1982), New York: Knopf, 1962, Chicago: University of Chicago Press. ISBN 0-226-87132-0

Wikimedia Commons has media related to Nabucco (opera).

• Nabucco: Scores at the International Music Score Library Project
• Synopsis, libretto, highlights, opera-guide.ch
• Libretto to Nabucco (in Italian)
• Contextual commentary to libretto (in English)
• Nabucodonosor Archived 7 August 2020 at the Wayback Machine, giuseppeverdi.it (in Italian)
• Recording of the opera in the public-domain
• Aria database