‘Nabucco’ brings Verdi back to Sarasota Opera

It’s hard to believe that it has been three years since Sarasota Opera concluded its monumental Verdi cycle in 2016. Saturday’s opening of “Nabucco” brought Verdi back to the winter season with a thoroughly enjoyable performance.

For some, the only memorable moment of this opera is the Hebrew chorus “Va, pensiero, sull'ali dorate” (“Fly, thought, on golden wings”) which became an anthem for Italian liberation in the 19th century. It was a highlight with conductor Victor DeRenzi leading an immediate encore of the chorus before moving on. It was both lovely and powerful, but it was not the only time the chorus won the day.

The first act of “Nabucco” found the Israelites preparing and praying as the Assyrians storm Jerusalem. The dramatic use of chorus is a significant element of this wide-ranging scene, something Verdi pioneered and developed during his career. Here we also meet Kevin Short’s Zaccaria, the High Priest, in “D'Egitto là su i lidi” (“On the shores of Egypt He saved the life of Moses”).

Short’s lyric bass was compelling and tightly focused, if not too tight, yet able to rise to his upper reaches and dig down into a satisfying growl. He had ample opportunity to display this range including a later prayer “Vieni, o Levita” (“Come, oh Levite”) peacefully sung to the accompaniment of cellos only.

All the major players are introduced in the action-packed first act: Fenena, the youngest daughter of the Assyrian king Nabucco, is a hostage, used to hold off the brutality of Nabucco and his other presumed daughter, Abigaille; Ismaele, the nephew of the King of Jerusalem, is assigned to guard Fenena, his love, whom he has not seen in some time; and the spurned and jealous Abigaille, costumed stunningly in a gold breastplate for battle.

Ben Gulley’s Ismaele is a minor role for tenor. Even with a narrow vibrato his voice was faint in comparison to Lisa Chavez as Fenena, whose full-bodied mezzo cut easily through all the forces on stage and in the pit. Later, after converting to Judaism, Fenema sings of heaven awaiting her execution in the soulful “O dischius’e il firmamento” (“Oh, the firmament is opened up”).

While Fenena is a critical role for the action, the better musical opportunities are given to Abigaille. She is sung by soprano Rochelle Bard, whose lighter high voice ably navigates the coloratura demands yet achieves a threatening edge in the lower range, which is where she spends her time with vengeance. Her “Anch’io dischiuso un giorno” (“I too once opened my heart to happiness”) and “Salgo già del trono aurato” (“I already ascend the [bloodstained] seat of the golden throne”) are a real tour de force both musically and dramatically. She is a fine actor spanning the range from love, vengeance and death by poison before the curtain fell.

The title role calls for a well-rounded actor, and baritone Stephen Gaertner fills the role with regal confidence. Three times Nabucco appears suddenly on the scene to turn the action and makes one striking departure. He arrives to conquer Jerusalem in Act 1, then returns to regain his crown from Abigaille’s revolt with “Non son più re, son dio” (“I am no longer King! I am God”). This does not end well as a bolt of lightning strikes him senseless and Abigaille takes advantage of his madness.

Gaertner is convincing in his mad scene and pathetic as he pleads for Fenena’s life in “Oh di qual onta aggravasi questo mio crin canuto” (“Oh, what shame must my old head suffer”). We were ready to cheer for him as he regained his power with the prayer “Dio di Giuda (“God of Judah”) and returns forcefully in the last scene to save the day.

That last scene displays the best of scenic (Jeffrey Dean) and costume design (Howard Tsvi Kaplan) with the splendor of old Babylon and its famed Hanging Gardens. The modular set of walls and stairs included plants draping from the heights and a skyline of Babylon. Bright colors and jewels contrasted with the humble blue and white attire of the Israelites. And to stage right sat a magnificent golden calf idol, which exploded at a pivotal point as an awe-provoking effect.

Stage director Martha Collins keeps the action moving even with the stage crowded by a sizeable chorus. With the exception of a couple of static scenes with Zaccaria’s singing to the Israelites, there was believable movement and flow.

Once again, the orchestra filled its ever-present role in the action with great skill and musicality. Largely unseen, but never unappreciated, the musicians are of the utmost proficiency again this year.

‘Nabucco’

By Giuseppe Verdi. Conducted by Victor DeRenzi, directed by Martha Collins. Reviewed March 2, Sarasota Opera House, 61 N. Pineapple Ave., Sarasota. Through March 24. 941-328-1300; sarasotaopera.org