Three concert performances of Nabucco were scheduled in succession within the final four days of this year's festival with Riccardo Muti and his Rome ensemble rounding-off the Verdi celebrations in Salzburg.

The Maestro's untiring discipline and sense of precision, coupled with his musical vision and perspective are mirrored unfailingly in the inspired and flawless contribution by the Rome Opera Orchestra and Chorus. The fierce intensity of the opening few bars set the standard for a Verdi experience par excellence. Occasionally prone to extreme tempi, Muti had a couple of surprises in store; a particularly reflective and deliberate "Va Pensiero" and Nabucco's cabaletta "O prodi miei" which was whipped like a horse at Ascot!

Always evident however was the conductor's empathy and consideration for the singer, which was an undoubted blessing for the Abigaille in this series, who stepped in at short notice for an ailing Tatiana Serjan.

In the title role, Zeljko Lucic came across as rather nonchalant in comparison with the energy exuded by his colleagues. His dramatic instinct and musical intent achieved their effect, but often in spite - rather than because of - the vocal quality to hand. The timbre is rather nondescript and monochrome with the intrusion of an occasionally tired vibrato (this was, albeit, the final performance of the Salzburg series), and overall lacking ideal "ring" to make this a thrilling vocal experience.

Zaccaria was taken by Dmitry Belosselskiy. In excellent form, with ample breadth and thrust to his tone, he made a vital contribution to the evening, singing his great arias "Sperate, o figli!....Freno al timor!" and "Vieni, o Levita...Tu sul labbro" with absolute security and aplomb, and musically benefiting greatly from the Maestro's strict baton in comparison to his recent Attila portrayal in Vienna's Theater an der Wien. Any vocal deficiency at the lower extremes is well compensated by a solid and imposing top register.

Francesco Meli (Ismaele) left a strong impression in one of Verdi's least thankful tenor roles, singing with an ideal combination of lyricism and drama.

Fenena was taken by Sonia Ganassi sounding somewhat "bottled" in her mid-range, but sympathetic and reliable in her presentation.

There were solid contributions from Luca dall'Amico (High Priest of Baal) and Saverio Fiore (Abdallo), and an interesting appearance by the striking Turkish soprano Simge Buyukedes (Anna), whose clear soprano occasionally dominated in the large ensembles. Just six years into her career, she is already embarking on roles which include Tosca, Aida and Leonora (Il Trovatore) - hopefully not too early, and hopefully a name to watch out for.

And so to Abigaille - taken at short notice by the young Italian soprano, Anna Pirozzi. Coming from singing Santuzza in the summer open air Cavalleria Rusticana production at Caracalla, Pirozzi can boast an intense schedule across Italy in roles ranging from Aida to Amelia (Ballo) and Leonora (Il Trovatore), with recent international engagements in Sao Paulo (Lady Macbeth) and Beijing (Abigaille) following success in the Mattia-Battistini Competition in 2009. Her instrument is appropriately ample in tone, if currently lacking in midrange thrust, and revealing a slightly tenuous approach to exposed chest notes. Her scale work and abellimenti (the ascending roll for example in "Salgo gia del trono aurato") are somewhat sketchy but "Anch'io dischiuso..." and the finale, "Su me...morente" were superbly shaped and affecting in mood. All-round, a notable achievement (under any circumstances), and one warmly received by the house.