|
|
Nabucco
By Michael Van Duzer
It's impossible for a modern American audience to experience the clandestine thrill that nineteenth century Italian audiences found when attending a production of Verdi's Nabucco. For them, the composer's name was literally synonymous with freedom and, as an occupied people, the chorus of the Hebrew slaves had a significance we can't begin to comprehend. Today we notice the shakiness of the libretto or find fault with the paper-thin characterizations. There are even those who would chide the youthful Verdi for his relatively unsophisticated writing. But even early Verdi is blessed with a torrent of melody and a genuine sense of drama. And, when paired with exciting singers like the current Los Angeles Opera production, the result can be thrilling.
Things begin well in the pit where conductor Lawrence Foster leads the orchestra in a rousing rendition of the overture filled with enough urgency and verve to convince you the music was written last week rather than 160 years ago. The voices continue this high caliber of musicality. As the title character, Lado Ataneli boasts a sweeter sound than one generally associates with the role, but that doesn't detract from his command of the music or the stage. His voice rings with authority in the opening scenes, before his pride proves his downfall, and he easily finds the pathos of the mad scenes. Maria Guleghina has sung Abigaille, the evil usurper, throughout the world, and her comfort with the voice-killing role made for a potent and fascinating characterization. If she couldn't quite solve some of the libretto's most egregious lapses in sense, she managed to make complete sense of the formidable musical challenges of the role. Arutjun Kotchinian's Zaccaria may have lacked a bit of force in the lower register, but he sang with fervor and grace. Kate Aldrich and Jose Luis Duval were appropriately mellifluous and romantic in their scenes while Resident Artist James Crewell continues to impress in the role of the High Priest. And, as always, the Va pensiero chorus of the slaves was a showstopper.
If there are disappointments with Nabucco, they are on the physical end of the production. Michael Yeargan's sets seemed a bit stingy, with little but a rearrangement of gray walls and stairs to delineate the many settings. In the same vein, Jane Greewood's not-of-any-specific-period costumes looked flat and uninspired, their only points of originality being a collection of silly hats. Thor Steingraber's direction was straightforward and unfussy, his only real lapse in judgment being a decision to visualize the pivotal moment when the wrath of God strikes the temple as a piffling blackout.
However, nothing in the mise en scene was enough to detract from the enjoyment of the singing. Nabucco may be the B-movie of Italian opera, but a well-cast production like this is a guilty pleasure we can all enjoy.
Nabucco September 8-September 25 2002 at the Dorothy Chandler Pavilion
www.losangelesopera.com
|
|
|
|
