Customer Reviews

Verdi - Nabucco / Carignani, Bruson, Flanigan, Teatro de San Carlo

5 star:		(2)
4 star:		(3)
3 star:		(2)
2 star:		(2)
1 star:		(3)

 

 

In Nabucco the singing is more important than the opera, in the sense that the many hits don't add up to a cohesive musical-dramatic entity. The tension is in the challenges to the singers and chorus. Verdi experiments here with every possible writing form for voices - there is even an a-cappella piece for the chorus - "Immenso Jeovha".

The singers in this production provide the focused suspense associated with the vocal requirements of the major roles.

Lauren Flanigan, is a marvel at the New York City Opera in the modern repertory, where she recently did Susan B. Anthony, in Virgil Thomson's "Mother of Us All". Flanigan's Abigaille is unusually complicated for a straightforward bitchy character. She creates Abigaille as a tormented woman whose vindictiveness stems from the depths of her anguish, and as such the character arouses some sympathy. Vocally her dramatic coloratura (a bit on the light side for the Verdi roles she is doing) has a lot of presence and a fabulous technique, but there is something more here than just the sum total of some technical accomplishments. I think it's the total commitment and concentration that is contagious, and is the hallmark of a great artist. Her immersion in the role is so total that she becomes breathless at the end of "Salgo gia del trono aurato" but this momentary loss of vocal control is part of the sport-event-like drama that this opera is, where the singers/athletes push themselves to their physical limits.

Renato Bruson was the greatest baritone of the 80's. Nabucco is one of his signature roles, but I prefer Cappuccilli's more refined and nuanced approach. Bruson is a great stylist and his big voice is still in good shape, but the close up element of the recording brings out the dark colors of the voice. He attempts little subtlety or shading (other than in his confrontational duets with Flanigan) and delivers the declamations rather fiercely. After the first response of pleasure at the volume and intensity of the voice fades away it comes across as loud and strained.

The chorus is up to the challenge, but other than Flanigan's and Bruson's contributions, the production seems to drag on somewhat routinely as far as the audience is concerned. There should be more excitement in the air, and the audience seems relatively indifferent for a Mediterranean audience attending a performance of Nabucco. This may have to do with the conductor's inability to bring out the fire in the work. The final applause dies before he even has a chance to come on stage.

The picture quality is excellent, and the wide screen format is quite dramatic. There are some interesting camera angles, for example from the top side boxes, that on the wide screen give an unusual view of the stage. Some camera takes are inspired, like recording the singer in the background between two choir members in the foreground. Surprisingly though, the audio balance is a bit unstable as the singers move or turn their head and on some scenes it has an unnatural boxy acoustic on the stage (the orchestra pit acoustics is fine). The singers occasionally sound close and with no aura around the voice - this problem comes and goes and I couldn't fathom what it relates to. Occasionally the singers disappear momentarily out of focus, particularly when they retreat to the back of the stage.

Despite these minor complaints I can't have enough of this DVD. Repeat viewing reveals many fine details of vocal technique, best sampled out of the dramatic context, since there is no context, but rather a parade of vocal pyrotechnics.

Just said all with my title. The production is one of the most spectacular I can remember, but the sound is really ugly. It's a real pity! This is not the average quality of DVD I want to see!

The sound on this dvd is not too bad for the voices, but the orchestral balance is weird, the trouble is we buy dvd as apposed to vhs hopefully for superior sound, but not in this case.

This is another great opera from the San Carlo Opera in Naples. Overall, it is a fine operatic experience. Lauren Flanigan as Abigaille is wonderful. The bass who sings Zachariah is terrific, with a deep and full voice. Renato Bruson, who sings Nabucco, is unfortunately a little past his prime, and shouts and wavers on high notes. But he is a great artist, and gives a moving theatrical performance. In general, the sets and costumes look a little amateurish, and I kept thinking that this was a long cry from the Met in all the little details. Worse, the sound is heavily compressed, to the point that in pauses, the hiss cuts off suddenly, as if a limiter was used. I really think the producers have a little to learn about miking the performers properly, as there was great variation in volume, depending on where they were standing. Met videos get this right. Overall, though, I enjoyed this dvd quite a bit.

The squeeky floors and things going thump in the orchestra pit were so distracting to me that I didn't make it past the first act. The chorus sounded like they were a half mile away. My cat, who loves most operas, mistook the surrounding noises as someone knocking at the door and retreated to a quieter place. We allow ourselves one "dumb product of the month" so Nabucco will be "it" for September.

Firstly, to the reviewers who don't get Verdi singing, perhaps a brush up-course may be in order. Lauren Flanigan, as Abigaille, gives the best vocal performance available on dvd or video. Only the divine Maria Callas does it better(and that is only available on a fair sounding cd). Madame Flanigan respects every note and marking Giuseppe Verdi indicates in the score.Her voice is in superb shape here, and her legato, coloratura, and all the other extremely difficult things that a true Verdi soprano must execute are present. Neither Dimitrova, Neves, nor the outlandish performance of Guleghina come close to this.

Bruson was a superb Nabucco, in his prime. He still has the fire here and a good part of the vocal requirements, but age and wear has begun to take its toll in this performance. Still, he is very much in command.

Visually and sonically this is a very fine example of this opera. The sets are stunning, as are the costumes and blocking.The orchestral components are adequate, but it could be wished that the conductor could have pulled a bit more ferocity from the memebers at certain critical moments.

Patrick C. Byrne

What a pity this DVD is so amateurish! NABUCCO is one of Verdi's best early operas and is all too rarely performed today. Bruson's performance of the title role, while no match for Gobbi, is quite good - from what we can tell but the sound is so poor it sounds like the producers used one microphone hidden at some odd location. The camera work shows no evidence of rehearsal or forethought. Aside from Bruson and Flanagan, the rest of the cast was mediocre and were certainly nothing to waste a video on.

I have watched this opera three times and like it better with each showing. I also have two other VHS recordings of Nabucco and think this one at least holds its own among them. True, the fellow who plays Zachariah isn't Sam Ramey, but he still does a very respectable job. Maybe I am just a hick from the Lower Rio Grande Valley of Texas, but I liked the opera. The chorus deserves recognition-- it was superior. Maybe those who didn't like it just don't care for Nabucco.

The opera Nabucco is a milestone for Giuseppe Verdi. It was his first hit musical, composed after the death of his son and wife. Symbol of resistance I believe the North of Italy by Austria and certainly stop him and his editor who had a future as a composer. Musically it is a joy to see in opera maturity. But it has the characteristics of genius, especially in the issue coral.

The Scala in Milan is distinguished by the conservatism of their productions. Often up styles is overstated. The Nabucco they agreed more than wrong. Scenarios representing the Babylonian period, light and mingle with appropriate costumes sometimes heavy demai.

Renato Bruson is a baritone with an international reputation. He sang in all the major opera houses of the world, including Brazil. His technique combined with enviable colorful notes made it a central focus in Verdian roles as Falstaff, Macbeth and Nabucco. Interpretation was never his mark, but then it becomes Nabucco. It shows an excellent actor. It incorporates all the feelings and emotions of the character. Your pipeline is strong in the first act, destroys without the slightest compassion the temple of the Jews. The loss of power to the adopted daughter makes him lose lucidity, is troubled, enigmatic, lost. A true Nabucco, voice and interpretation.

Ghena Dimitrova is without doubt one of the greatest sopranos of the late twentieth century. Her Amneris alongside Luciano Pavarotti at La Scala is unforgettable. In this opera has the responsibility for giving life to Abigail. It does this with great skill, surely one of the greatest interpreters of this character. His dark and powerful voice suits the requirements of the score. His performance is flawless scenic, cold, Machiavellian and ruthless to achieve their goals. These are some characteristics of the temperament of that character and very well expressed on stage by Dimitrova.Mais an outstanding performance.

The orchestra of La Scala is unsurpassed when it comes to Verdi. His Italian musicality, combined with a perfect technique and a proper balance in all suits gives us a unique sound. Example for all other orchestras in the world when it comes to Italian opera. The conductor Riccardo Muti's more than proven competence, you know make the most of its orchestra. Movements correct and full knowledge of the score only increase the quality of their interpretations.

A central factor for the successful development of the opera Nabucco is the chorus. Participates actively in all the acts and presents the best-known part of the score, Penseroso Go! Enslaved, humiliated and hopeful, and represent the chorus of La Scala. They sing and act very well, with a unique style. Many of them with the level of soloist. Accompanying the choir bass Paata Burchuladze plays the role of Zachary, leader of the Jews. Deep voice, dark and serious generous. Lend deity your character. Defends his people tooth and nail, makeup and costume perfect.

The image of the dvd is of good quality, nothing exceptional in the case of an analog matrix. The sound is of good quality. You can choose scenes, menu practical and easy to use.

The reader must be wondering why the title? Two versions, two ways. The other way is a dark shot Nabucco in Naples. Hard to imagine how a theater of international fame can go wrong both in a production. Soloists weaknesses of the mountains, Maurizio Fruzoni, Carlo Colombo, and Lauren Flanigan with voices are inadequate. Sometimes ocher, the often opaque. The only one that saves Renato Bruson is still not in their best days. Sings without much inspiration, nothing compared to the Nabucco at La Scala. The governing Paolo Carignani remember a band from the inside. Dull and reading at least one wrong or strange in the score.

The highlights were the sets and costumes, modern, light and beautiful. The choristers are another positive factor, can sing well, even with the intricacies of the soloists. The direction of television errs in many outlets, it shows the essence of the story. Sound and image of that terrible qualidade.Você like Verdi, who enjoys opera, run this version.

Dvd of Naples is overwhelming evidence that to make good opera soloists need is qualified. It's no good to hit the production and sin in singers, even the papers "minor" should be given special attention. We have seen many operas with excellent soloists and bad comprimários. The merits are with the Scala of Milan, was right on all counts and did a great job. The San Carlo in Nabucco was more confusion than answers.

DUAS VERSÕES, DOIS CAMINHOS.

A ópera Nabucco é um marco para Giuseppe Verdi. Foi seu primeiro sucesso musical, composta após a morte de seu filho e esposa. Símbolo da resistência do julgo do Norte da Itália pela Áustria e a certeza pare ele e seu editor que tinha futuro como compositor. Musicalmente não é um primor como veremos em óperas da maturidade. Mas já apresenta características de genialidade, principalmente no quesito coral.

O Scala de Milão se notabiliza pelo conservadorismo de suas produções. Muitas vezes até peca pelo exagero. No Nabucco eles acertaram mais que erraram. Cenários representativos do período babilônico, leves e adequados se misturam com figurinos às vezes pesados demai.

Renato Bruson é um barítono de reputação internacional. Cantou em todos os grandes teatros líricos do mundo, inclusive no Brasil. Sua técnica invejável aliada ao colorido das notas centrais fez dele um destaque nos papéis verdianos como Falstaff, Macbeth e no Nabucco. Interpretação nunca foi sua marca, mas nesse Nabucco ele se transforma. Mostra-se um excelente ator. Incorpora todos os sentimentos e emoções do personagem. Seu Nabucco é forte no primeiro ato, destrói sem a menor compaixão o templo dos judeus. A perca do poder para a filha adotiva faz ele perder a lucidez, fica conturbado, enigmático, perdido. Um verdadeiro Nabucco, na voz e na interpretação.

Ghena Dimitrova é sem dúvida um dos maiores sopranos do final do século XX. Sua Amneris ao lado de Luciano Pavarotti no Scala é inesquecível. Nessa ópera tem a função de dar vida a Abigail. O faz com maestria, com certeza uma das maiores interpretes desse personagem. Sua voz escura e potente se adapta as exigências da partitura. Sua atuação cênica é impecável, fria, maquiavélica e sem escrúpulos para atingir seus objetivos. Essas são algumas características do temperamento dessa personagem e muito bem expressas no palco por Dimitrova.Mais uma atuação marcante.

A orquestra do Scala é insuperável em se tratando de Verdi. Sua musicalidade italiana, aliada a uma técnica perfeita e um conjunto equilibrado em todos os naipes nos proporciona um som único. Exemplo para todas as outras orquestras do mundo em se tratando de ópera italiana. O regente Riccardo Muti de competência mais que comprovada, sabe tirar o máximo de sua orquestra. Andamentos corretos e pleno conhecimento da partitura só fazem aumentar a qualidade de suas interpretações.

Fator fundamental para o bom desenvolvimento da ópera Nabucco é o coro. Participa intensamente de todos os atos e apresenta a parte mais conhecida da partitura, Vá Pensero! Escravizados, humilhados e esperançosos, assim representam os coristas do Scala. Cantam e atuam muito bem, com um estilo único. Muitos deles com nível de solista. Acompanhando o coro o baixo Paata Burchuladze interpreta o papel de Zacarias, líder dos judeus. Voz profunda, escura e com graves generosos. Empresta divindade ao seu personagem. Defende seu povo com unhas e dentes, maquiagem e figurino perfeitos.

A imagem do dvd é de boa qualidade, nada excepcional por se tratar de uma matriz analógica. O som é de boa qualidade. É possível escolher cenas, menu prático e fácil de usar.

O leitor deve estar se perguntando o por quê do título? Duas versões , dois caminhos. O outro caminho é um tenebroso Nabucco filmado em Napoli. Difícil imaginar como um teatro de fama internacional consegue errar tanto em uma produção. Solistas fracos tem aos montes, Maurizio Fruzoni, Carlo Colombara e Lauren Flanigan estão com vozes inadequadas . As vezes ocres, as vezes opacas. O único que se salva é Renato Bruson , mesmo assim não está em seus melhores dias. Canta sem muita inspiração, nada comparado ao Nabucco do Scala. A regência de Paolo Carignani lembra uma banda do interior . Sem brilho e com uma leitura no mínimo equivocada, ou estranha da partitura .

Os destaques ficam com os cenários e figurinos, modernos , leves e bonitos. Os coristas são outro fator positivo, conseguem cantar bem, mesmo com as trapalhadas dos solistas. A direção de televisão erra em muitas tomadas, não mostra o essencial da história. Som e imagem de péssima qualidade.Você que gosta de Verdi, que aprecia ópera, fuja dessa versão.

O dvd de Napoli é a prova contundente que para fazer boa ópera é preciso de solistas gabaritados. Não adianta acertar na produção e pecar nos cantores, mesmo os papéis "menores" devem merecer atenção especial. Já vimos muitas óperas com excelentes solistas e péssimos comprimários. Os méritos ficam com o Scala de Milão , acertou em todos os quesitos e fez um excelente trabalho. O San Carlo nesse Nabucco mostrou mais equívocos que acertos.

Ali Hassan Ayache

The people reviewing this version of Nabucco need to see the whole thing. The first act does have some sound muffling but acts 2,3,4 for some reason do have DVD quality sound. After seeing this I am reminded of Verdi's Macbeth which premiered six years after Nabucco. If you like Nabucco, see Macbeth, (the Sinopoli version available here on Amazon). There are a number of performances of Nabucco in the Teatro de San Carlo, one of which is with Maria Callas from 1949, a monural recording but spectacular performance.