Organization

Stage director

Jean-Christophe Mast

Conductor

Paolo Arrivabeni

Singer

Baritone

Juan Jesús Rodríguez

Nabucco

Soprano

Csilla Boross

Abigail

Tenor

Jean-Pierre Furlan

Ishmael

Bass

Simon Lim

Zachary

Marie Gautrot

Fenena

Thomas Dear

The High Priest of Ba'al

Jeremy Duffaut

Abdallo

Laurence Janot

Anna

Choreographer

Laurence Fanon

Lighting designer

Pascal Noël

Costume designer

Jérôme Bourdin

Set designer

Opéra de Marseille

Others

Opera of Marseille Choir

Orchestra

Marseille Philharmonic Orchestra

Marseille

France

Nabucco Verdi

Public

Private

Approved

Le directeur de La Scala aura dû insister
pour que Verdi accepte de s’y mettre. Bien
lui en prit : ce péplum au chœur célèbre
entre tous lança la carrière du compositeur
urbi et orbi.
Abigaïlle n’a vraiment rien d’un cadeau. Ni pour
sa famille supposée, dont elle s’emparera
un temps de la couronne, ni pour la soprano
qui l’incarne, forcée à de dangereuses
prouesses – la légende raconte que Giuseppina
Strepponi (1815 – 1897), créatrice du rôle, y laissa sa voix. Sans faire table rase
de la tradition, Nabucco repense l’opéra.
Le beau chant ne suffit plus : il faut impliquer
le spectateur, le prendre à la gorge,
l’accabler par la violence d’une écriture
qui tend désormais vers une sorte d’arioso à l’accompagnement suggestif.
Va sans dire que personne n’en sort indemne.

français

The director of La Scala must have insisted that Verdi agree to get started. He took it well: this peplum with a famous chorus launched the career of the composer urbi et orbi .

 

Abigaïlle is really not a gift.
Neither for her supposed family, whose crown she will seize for a time, nor for the soprano who embodies her, forced into dangerous feats – legend has it that Giuseppina Strepponi (1815 – 1897), creator of the role, left there his voice. Without making a clean sweep of tradition, Nabucco rethinks opera.
Beautiful singing is no longer enough: you have to involve the spectator, take him by the throat, overwhelm him with the violence of a writing that now tends towards a sort of arioso with suggestive accompaniment.
It goes without saying that no one comes out unscathed.

English

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