Customer Reviews

Verdi: Nabucco

5 star:		(16)
4 star:		(2)
3 star:		(0)
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This is probably the greatest recording of Nabucco available today, and stands alongside other classic operatic discs of recent times. There are certainly competitors - but for all Gobbi's and Suliotis' dramatic punch, their singing doesn't quite match the demands Verdi makes. Sinopoli's cast, however, sing up a storm and the opera is conducted with real verve. The sound quality achieves good balance, is perhaps on the "boxy" side but allows for excellent clarity, offsetting the intimate moments against the superbly sung choral scenes.

Capuccilli's Nabucco is suitably regal, but has real plangency to his tone when the king is reduced to a slave. Nesterenko's inky bass and forthright delivery make Zaccaria much more than a cipher (and rightly so, for he has some of the best music), and the young Domingo is ideally cast as a virile, passionate Ismaele - a character who can otherwise seem one dimensional and irritating. As his beloved, Fenena, Valentini Terrani sounds perhaps uninvolved but sings Fenena's prayer in the last scene with distinction. The small role of Anna is sung by a very young - but distinctive - Lucia Popp. But the set is probably most remarkable for Dimitrova's Abigaille, which is sung with simply awesome power. Very, very few sopranos can get through the role, yet Dimitrova tackles every one of the two octave leaps, vertiginous scales, and below staff growls Verdi throws at her with tireless, gleaming, ample tone. Even the tender side of Abigaille is manifested with some beautiful soft singing; this is one of the most remarkabe accomplishments I have heard on disc.

So - pending the release of the new Bruson-Guleghina recording that has made it into some of the shops, this really is the Nabucco to have. No other comes close for sheer quality and consistency across the performance.

Hard to believe this is but Verdi's third opera. His first big hit, after almost throwing in the towel over the De Regno's flop. In 1841 the shrewd Bartolomeo Merelli, then impresario of La Scala, got Verdi re-engaged for this composition. Thank goodness, or we wouldn't have this great recording. Piero Cappuccilli heads the cast as a full voiced kick-ass Nabucco, only to have the show stolen by Ghena Dimitrova as an unbelievably powerful and dramatically convincing Abigaille. Evgeny Nesterenko is a first rate Zaccaria, High Priest of the Hebrews who almost scares off the King of Babylon (and me). Placid Domingo sounds youthful and strong as Ismaele (probably overcast in this lightweight role, but a nice bonus). Making it all work is the Opera of Berlin Orchestra and the wonderful conducting of Giuseppe Sinopoli. A more Verdi sounding score you will not find. Sinopoli subtle control of the brass accents the singers so well you want to listen to this recording again and again. This is in no small part due to the excellent sound engineering of Klaus Hiemann. All operas should be recorded this well, one that Verdi would purchase.

Verdi's first big hit was Nabucco, based on the biblical account of the Hebrew captivity in Babylon by the imperious and vainglorious King Nebuchenessar. Nabucco is the Italian form of that name. While this is HIS opera, the web of characters form a powerful theme of love and thirst for power and longing for freedom. Isrele is the tenor part, a young Hebrew slave, in love with Ferena, sung by a mezzo soprano. Abigaille is the wicked daughter of King Nabucco, and her role is regarded as the most fiendishly difficult soprano role Verdi ever wrote, full of thunderous declamations high above C, and fully lyric with strong chest register. The cast in this early 80's recording is a dream cast, making this the best studio recording of Nabucco available today. Placido Domingo is singing a part that is not really the star, but he sings with passionate intensity and all his usual radiant flair. His was a voice that Verdi wrote for tenors, and Domingo himself considered Verdi to be his strongest vehicle as a tenor. In this recording we dont get the masculine ardor of Aida's Radames, or the refinement and passion of Alfredo in Traviata or the intensity of Otello nor even the ingellect of a Don Carlo or Don Alvaro from Forza Del Destino, but we have a fine character with religiosity and romantic feelings. The arias are well-executed by Domingo. He keeps up with the faster portions of the music. It seems to me listening to all this - Verdi was really trying desperately to make a hit. He had not had any success prior to this opera. The music is very dramatic, with far too many fortissimos even. Every aria and ensemble ends in such a BANG that it would seem the opera ends earlier than it should. Of course, the Overture is lovely. The highlights of this opera include great choruses. The first one in Act 1 and the more famous Va Pensiero, the Hebrews cry for freedom which even rises to nationalistic Italian heights.

Other than the tremendous talents of Placido Domingo, this recording is blessed with the fine voice of bass-baritone Piero Cappuccili in the eponymous role. As Nabucco, the evil, arrogant king, he is majestic and sometimes paternal (Verdi baritones ALWAYS sound paternal and it doesnt help that the music written fo them are mellow). Cappucilli is another great Verdi singer that together with Domingo make this recording exceptional. Opposite the more dragon-lady-like Ghena Dimitrova, he seems to be weak though....as in the scene "Prisoner ? Si! Prisioner SI!!"
But Cappuccili holds his own and is in fine shape in this recording. He is also the best Macbeth, and his voice is prominently displayed in a DG recording he sang opposite Shirley Verret's imperious Lady Macbeth.

The ladies in this recording are electrifying. Ghena Dimitrova, a Bulgarian-born soprano, is the best Abigaille ever recorded or performed. Not even Callas reaches the technical bravura and character integrity she essays. Her voice is strong, full and powerful. It is even said that Dimitrova had the highest and strongest dramatic soprano voice. Her career was short-lived because of all the intense roles she sang (Turandot, Tosca, Norma, Lady Macbeth). Abigaille she sang numerous times and it was even her signature role. Mezzo soprano Lucia Valentini-Terrani is prolly the weakest in the bunch, but she masters the role of Ferena with aplomb. I cant complain. I love everything about this recording, including the somewhat wooden Terrani. This recording deserves more recognition. Opera lovers go out and get this recording. Pass it on.....

I have listened to a few versions of this opera, even pirated scenes with Maria Callas. It is really an opera of vitality. Verdi may have still had many crudities in the way he wrote. He may have even been over the top at times. Yet, he is unmistakeably exciting. As he third attempt at opera, I would say, even if he did use the "required styles of the day" he produced a wonderfully vivid work. Of course, the characters are one dimensional (if even that deep), but they are exciting and enjoyable. The sound is excellent, and the singing is every bit on par with the excitement of the music. Of course, the person who makes the opera is Ghena Dimitrova, and not because anyone else is less good. They are all great! She just seems to make that voice-wrecker music seem easy, and even gentle on the voice. There is no strain at all! However, I read somewhere when this recording was first reviewed that she had been ill, and that making the recording was difficult. I have no clue if that is true, but I can assure anyone who buys this recording, if it is, they will not be able to tell. She blazes through the role and carries you away. Just for those who are not familiar with her in real life performances, she has a voice that would knock your socks off. It is HUGE! It isn't just loud, and seemingly could go on for ever getting louder and louder without difficulty or strain. It is EXCITING! She can also draw back the sound to a whisper, like Caballe, and send a tingle up your spine. This recording gets close to sharing those real life experiences with the listener. This is well worthy the money!

This is fantastic singing from beginning to end. Sinopoli conducts this Opera like Italys reuninion still depend on it and dont waste your time looking for another copy. This is a VERY good version and is hard yo beat. The sound is great.

This is simply the best recording available of Nabucco. The cast is perfect with the exception of Terrani and he horrible fast vibrato. Dimitrova sing so well, she sets the standard for all other recorded versions of the role.

I've listened happily for many years to the Gardelli/Gobbi/Suliotis Nabucco. That version is so great, that I only listened to this one to hear Sinopoli. Well, this one is just a great. Neither is perfect, but they're both so damned good, you really can't go wrong with either.

Of special interest in this Nabucco are the very young Domingo and Lucia Popp shining in the early stages of their careers. But they are definitely not the main players in this opera (although Domingo does have the tenor lead). Comparing the two, I prefer Gobbi's Nabucco, but I find no real fault with Cappuccilli's voice or portrayal.

I thought that Abigaille belonged to the late Elena Suliotis (who did sound at times very much like Callas), but Ghena Dimitrova was a revelation. She is just superb as the mostly evil (till the very end when dying) role of the spurned Abigaille, the apparent daughter of the Nebuchadnezzar, but who is really the daughter of slaves! (Let me know if you find this twist in the Bible! Just possibly the story has been enhanced a bit for both dramatic and political reasons.)

Suliotis may have a slight edge dramatically, but I think the edge goes to Dimitrova vocally in this very demanding role. Powerful and dynamic and displaying great technique and vocal agility (as described by other reviewers), she is also softly touching and sings beautifully in such arias as "Anch'io dischiuso un giorno."

Why did I wait so long to listen to this Nabucco! It truly flies on golden wings.

Oh, yeah, and Sinopoli definitely didn't disappoint.

I am convinced this album cannot be topped; the Hebrew slave chorus is award winning. The recording on CD is superb. I've recently introduced it to several friends, all of whom begin to sob and have later purchased copies! I love it. New appreciation yet for Verdi!

Having spent more than 40 years listening to the Gobbi/Suliotis, it has a special niche in my Opera memory. The Sinopoli is good, with an electrifying performance by Dimitrova, but falls short of the evil, witchy, possessive, scheming, jealous, coniving, bitchy, Suliotis's Abigaille. But the real confrontation must be between Gobbi and Cappuccilli. And Gobbi is my favourite. Having said that, I feel that Cappuccilli falls short of the performance he gave in Foscari, now that was some singing!! So the one star difference, Gobbi/Suliotis over Cappuccilli/Dimitrova. With chorus and orchestra/conductor even.

This is an outsanding, first rate recording of Nabucco. Sinopoli's tempos are admirably sensitive to the subject matters, and he conducts an orchestra that is full and vibrant.

Piero Cappuccilli in the title role sings with a large, almost roaring tone, that could not be more ideal for the role of Nabucco. Yet, he is musical in "Dio di Guida," and in "Chi mi toglie il regio scettro?" his sense of line, musicality, and the way he caresses the phrases is undescribable and BEYOND AMAZING, it must be heard!

Ghena Dimitrova definetly has the power for the role of Abigaille, though to my ears her sound is somewhat thin a lot of the time.

Placido Domingo is good, and so is Evgeny Nesterenko. Furthermore, the others singers perform their roles well giving for an excellent interpretation of this peice.