Date: April 6, 2013
Conductor: Nicola Luisotti
Production: Daniele Abbado
Location: Covent Garden, London.
This production was supposed to be Leo Nucci’s triumphant moment. Nucci was supposed to be the headliner, in a new Covent Garden production on the eve of Verdi’s bicentennial. As the anointed King of Babylon he would bow to no one except the Verdi gods.
And then Placido Domingo entered the fray. He would not only sign onto the production, but sign onto the title role. And it would be his role debut on the floor where he initially debuted, as a tenor, some forty years ago. Naturally, the press zoomed in on the Domingo storyline, casually forgetting that the King of Babylon has long been anointed. Nucci would still open the production, but all eyes focused on Domingo’s role debut a fortnight later. Poor Leo.
Poorer still, was Nucci’s performance tonight. His voice, assertive, brimmed with cracking firepower. His timbre properly flexed to reveal one of a relentless boxer before the interval, and one of a hapless aging man thereafter. In terms of projection, his ringing high notes easily caught at the end of the upper slips. When Nabucco challenges Abigaille to take the crown from him in “S’appressan gl’istanti”, his voice unleashed with atypical fury. Dramatically, however, Nucci could simply not fit into Daniele Abbado’s empty stage without looking like a lost impala in the vastness of Serengeti. The stage’s relative barrenness made the short and fit baritone look even less regal; without Verdi’s musical cues, his stage entrance as the King of Babylon would have been unnoticeable. Nucci’s body told the story of the production’s problems, as his hands seemed to relish but could not find a prop to hold onto. Nucci’s body showed up, but never inhabited the stage. He moved about, but never occupied. Domingo may not be a better baritone, but he would surely occupy the stage with better dramatics and authority. In the rest of the cast, Liudmyla Monastyrska provided a subtle but effective Abigaille, while Marianna Pizzolato offered good dramatics and reasonably adequate grasp of Fenena’s formidable passages. Vitalij Kowaljow, as Zaccaria, was comfortable in his range, and seemed much more ready and determined to make his stage presence known, even in Abbado’s precarious nothingness. Even for those opera goers who are not familiar with the plot line, the stage aura of Zaccaria and Nabucco foretold from the very beginning the latter’s eventual fall from grace.
Nicola Luisotti made the orchestra sound charming, while the warm chorus shone brightly and in one coherent whole. The stage actors – spending a majority of their time looking into the audience – rarely looked at each other on stage, perhaps because they did not feel they belonged there. And they shouldn’t, because the stage offered very little for them to react against. There is nothing wrong with a grey-shaded, simple production, but something must not be right if I almost felt like I paid a fortune to go to an un-staged concert version of Nabucco.
Leo Nucci, in Royal Opera’s Nabucco.