NABUCCO

Va, pensiero, sull'ali dorate

For his third opera, Verdi chose a story from the Old Testament: the Babylonian king Nabucco (the Nebuchadnezzar of the Bible) has defeated the Hebrew people and deported them to his capital. His younger daughter Fenena, who loves the Hebrew Ismaele, tries to mediate between the two peoples, but the young couple incur the displeasure of both sides. When Nabucco, drunk with victory, declares himself a god, he falls into madness and his elder daughter Abigaille disempowers him. In prison, he gradually regains his sanity and realizes his injustice; back in power, he releases the Hebrews and pays homage to their god.

In this opera, with which he achieved his great breakthrough, the composer already demonstrates his unerring dramatic instinct. It has far more to offer than just the famous prisoners' chorus. Verdi uses passionate musical means to draw a series of striking characters far removed from black and white painting. Even the Hebrew leader Zaccaria is not immune to using drastic means to achieve his goals. Prejudices prevail on both political sides and the lovers almost fall victim to them. The world-historical conflict is also reflected in their private lives, where the (half-)sisters Abigaille and Fenena not only love the same man (Ismaele), but are also both desperately struggling for the love of their father Nabucco. With its perhaps utopian but hopeful ending, the play is more topical than ever.