Canadian Opera Company: Roland Wood (Nabucco); Mary Elizabeth Williams (Abigaille); Rihab Chaieb (Fenena); Matthew Cairns (Ismaele); Simon Lim (Zaccaria), Paolo Carignani, Conductor; Katherine M. Carter, Director; Michael Yeargan, Set Designer; Jane Greenwood, Costume Designer; with the COC Orchestra & Chorus. Production of Lyric Opera of Chicago. October 7, 2024, Four Seasons Centre. Repeats October 12, 17, 19, 23 & 25, 2024. Tickets here.
The Canadian Opera Company opened its season with its first ever presentation of Giuseppe Verdi’s Nabucco. Pivotal to Verdi’s career as a composer, this opera is filled with wonderful music. In my view, Nabucco is perhaps not as dramatically polished as Verdi’s other beloved gems, such as Aida, La traviata, and Aida, which may account for its late arrival to the COC’s repertoire.
The Story
Set in ancient Babylon, the title character and Assyrian king, Nabucco (Roland Wood), mounts an attack on the Hebrew people, who are led by Zaccaria (Simon Lim). Nabucco’s daughter, Fenena (Rihab Chaieb) is held captive by the Hebrews, but has fallen in love with Ismaele (Matthew Cairns), the nephew of the King of Jerusalem and former ambassador of Judea.
The drama throughout the opera is mostly driven by Abigaille (Mary Elizabeth Williams), Fenena’s sister. She is jealous of Fenena, since Abigaille is also in love with Ismaele. She discovers she was born a slave, and hence, not Nabucco’s biological daughter. To put it mildly, the relationship between Nabucco and Abigaille is complex. as the two fight over the crown.
The Performance
Williams gave a powerful performance as Abigaille, using her dramatic voice and physical presence to delve into the raw emotions of rage, revenge, and repentance. Despite the character’s actions, I couldn’t help but to have sympathy for Abigaille by the end. Verdi’s music suited Williams well to demonstrate the range of her instrument.
Both the British baritone Wood and South Korean bass Lim were vocally commanding as leaders of their respective groups. They had clarity and presence that gave them authority and gravitas.
Cairns and Chaieb were beautifully paired as the enamoured couple.
Without a doubt, the most iconic moment of the opera is the famous Chorus of the Hebrew Slaves, “Va, pensiero, sull’ali dorate” (Fly, thought, on golden wings) in Act 3. The chorus ended with an ethereal pianissimo whilst singing the words al patire virtù (to endure suffering). This prayerful moment embodies humanity’s unbreakable resilience. It was a transcendental moment.
The Chorus, under the leadership of chorus master Sandra Horst, warrants praise for their excellent singing throughout, and deservedly received a standing ovation at the curtain call.
The orchestra was also in fine form, led by conductor Paolo Carignani, with a number of beautiful instrumental solo moments.
The Production
For me, the effects of the visual components of this production from the Lyric Opera of Chicago were the least successful. The large imposing set of stairs and rectangular columns left little room for the large cast to move, which resulted in moments of stasis. The monochromatic costumes were supported by the subtle lighting design, but there was an occasional spotlight that seemed unnecessary. The costumes of the Babylonian army, in particular, pushed the overall visual aesthetic into science-fiction territory.
Nevertheless, the COC delivers powerful, captivating, and emotional music that is timeless. It is grand opera, not only in the sheer number of performers. but also in the universal themes of the human condition it explores: freedom and oppression, power and ambition, love and betrayal.
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