b>Giuseppe VERDI (1813-1901)
Nabucco - Drama lirico in four parts (1842)
[123:26]
Nabucco - Ettore Bastianini (baritone); Abigaille - Mirella
Parutto (soprano); Zaccaria - Ivo Vinco (bass); Ismaele - Luigi
Ottolini (tenor); Fenena - Anna Maria Rota (mezzo); Gran Sacerdote
- Renato Spagli (bass); Abdallo - Enzo Guagni (tenor); Anna
- Ottavia Imer (soprano)
Orchestra and Chorus of the Maggio Musicale Fiorentino/Bruno
Bartoletti
rec. live, Florence, 26 August 1961
no text or translation included
IDIS 6630/31 [73:07 + 50:19]
The catalogues have many fine studio recordings of Nabucco
and any admirer of the opera will surely go first to one of
them. However given that its character is essentially one of
drive and energy, with the characters painted largely in primary
colours, a live recording may nonetheless be able to get closer
to the heart of the work than can a more studied version recorded
in shorter lengths without the benefit of the sheer cumulative
effect that can be achieved in the theatre. I have certainly
listened to and usually enjoyed a number of such live versions
whilst recognising that some of the many more subtle moments
and effects that Verdi devised can be muted or entirely lost.
That does indeed apply at times here, but in this case the set’s
virtues are more than sufficient to outweigh that aspect. Usually
recordings of this opera are dominated by the Abigaille, Nabucco’s
supposed daughter, for whom Verdi wrote music which graphically
encapsulates her fierce will and ambition. Mirella Parutto,
an artist I have not heard before, is certainly as equal to
the difficulties of the role as are most of its recorded exponents
and she makes a very positive impression. However she is partnered
by an even more magnetic performance of the title role by Ettore
Bastianini. His firm and distinctive voice
, range of expression and vivid diction are unique in my experience
in recorded live performances. I would rate this performance
as at least equal to that of Gobbi on his studio set, and superior
to almost all others I have heard. Ivo Vinco as Zaccaria may
not have the ideal fierceness that this Old Testament prophet
requires but he does not really disappoint; nor do any of the
other characters. Bruno Bartoletti leads a performance that
has for the most part all the necessary drive and much of the
subtlety that the work does have. He really understands how
to shape and project the rhythmic figures that underlie so much
of the work. Surprisingly the only disappointment I felt was
in Va pensiero, that most surging and effective of Verdi’s
choruses, where there is some sense of caution and point-making.
Elsewhere however both chorus and orchestra give idiomatic and
energetic performances.
The recording has most of the usual defects of its date and
origin; odd balance, occasional distortion, stage noises, faults
of ensemble and so on. If this sort of thing bothers you it
would be best to avoid this set although IDIS seem overall to
have minimised these harmful effects. The recording has been
issued previously by several other companies but I have been
unable to compare the present transfer with them. IDIS only
provide cast and track lists, without even a synopsis let alone
a libretto in any language. In view of this and of very strong
competition from studio recordings even in the lowest price
ranges this is perhaps unlikely to be anyone’s first choice
as a recording of the opera. The set is nonetheless worth having
for the stunning performance of the title role, which for once
does dominate the opera, and for the exciting and idiomatic
performances of the other singers and the orchestra.
John Sheppard
Worth having for the stunning performance of the title role
and the exciting and idiomatic performances of the other singers.