The Canadian Opera Company opens its 2024-25 season with Nabucco. It is hard to believe that the opera that launched Giuseppe Verdi’s career has never been staged by the COC in its 74-year history. A Lyric Opera of Chicago production, Nabucco is finally making a long-overdue premiere in Toronto.
Nabucco, the tyrannical king of Babylon, is about to invade Judah. Although the Israelites have taken Nabucco’s daughter Fenena hostage, they lose their bargaining chip when she is freed by her captor Ismaele, who is in love with her. The enraged Nabucco goes on a rampage, destroys the Israelites’ temple and holds their people captive.
A scene from the Canadian Opera Company’s production of Nabucco, 2024. Photo: Michael Cooper
The story then centres around the rivalry between Nabucco’s daughters, Abigaille and Fenena, both vying for their father’s love and crown. Abigaille is ambitious and ruthless like her father, whereas Fenena is sympathetic to the Israelites. To make things worse, they are both in love with the same man. Abigaille offers to spare the Israelites if Ismaele will yield to her, but when her advances are rejected, she vows for revenge.
Abigaille accidentally discovers that she was born a slave and not of royal blood, which fuels her determination to take Nabucco’s throne. Emboldened by his success in battles, Nabucco proclaims himself not only king, but god of all people. For this blasphemy, a thunderbolt strikes him down, rendering him confused and physically weak. Abigaille promptly crowns herself Queen, and decrees the execution of Fenena and the Israelites.
Nabucco, now a prisoner in his own palace, pleads in vain for Fenena’s life. In desperation, he appeals to Jehovah for forgiveness, pledging to rebuild the temple and convert to Judaism if his prayers are answered. Immediately, his senses and strength are restored. He frees Fenena and the Israelites, allowing them to return to their homeland. The remorseful Abigaille asks for forgiveness and dies from poison she gives herself.
British baritone Roland Wood’s full-bodied tone is well suited to the title role. Although his character demands authority, his weakest moments are probably also his best. His aria when he pleads as a father for his daughter’s life, with his vulnerability in full display, is truly moving.
Roland Wood as Nabucco and Mary Elizabeth Williams as Abigaille in the Canadian Opera Company’s production of Nabucco, 2024. Photo: Michael Cooper
It is American soprano Mary Elizabeth Williams, however, who steals the show as the blood-thirsty Abigaille who hungers for revenge and power. She has immense control of her instrument, nailing two-octave leaps with laser precision, and showing an impressive range of colours. Her sweet, silvery tone is light and refined, but she can also unleash fury with powerful coloratura. With her superb acting she totally commands the stage. This is Williams’ COC debut, and we hope she will grace the Toronto stage soon again.
Also making his COC debut is South Korean Simon Lim as the Hebrew High Priest Zaccaria, whose steadfastness gives his people hope amidst adversity. His stentorian bass is smooth like aged wine, and a pleasure to savour.
(centre) Rihab Chaieb as Fenena and Simon Lim as Zaccaria in the Canadian Opera Company’s production of Nabucco, 2024. Photo: Michael Cooper
Mezzo-soprano Rihab Chaieb and tenor Matthew Cairns make a perfect pair as the lovers Fenena and Ismaele. Chaieb’s rich amber tone and Cairn’s achingly creamy tenor complement each other beautifully. Chaieb’s “Oh dischiuso è il firmament,” in which she sings of her peaceful embrace of impending death, is one of the finest moments in Act IV. Cairn’s role is unfortunately small and I yearned to hear more from him. It is noteworthy that both artists are graduates of the COC Ensemble Studio and the Metropolitan Opera’s Lindemann Young Artist Development Program. They are definitely rising stars to watch.
Completing the cast are current members of the Ensemble Studio: soprano Charlotte Siegel (Anna), bass Duncan Stenhouse (High Priest of Baal) and tenor Wesley Harrison (Abdallo). Siegel, another rising star who has been seen in many mainstage productions, regrettably only sings a few lines in this one. Against the rest of the powerhouse cast, Stenhouse and Harrison both pale in vocal power.
(above) Mary Elizabeth Williams as Abigaille in the Canadian Opera Company’s production of Nabucco, 2024. Photo: Michael Cooper
Nabucco’s real shining star is the chorus, which has a strong presence throughout the opera. The 56-voice COC Chorus is in fine form, portraying both Babylonian soldiers and Hebrew captives. The opera’s most well-known musical moment, “Va, pensiero, sull’ali dorate,” more commonly known as the “Chorus of the Hebrew Slaves,” is definitely its highlight. This rendition is one of the best I’ve ever heard—taken at a slower tempo, it is full of dynamic contrast, with the last note drawn out to prolong the pleasure, fading away into thunderous applause and cheers.
Verdi filled Nabucco with some of his most impossibly lush orchestrations. The expansive overture, which can easily be a standalone piece, is a showcase for the excellent COC Orchestra, under the baton of Paolo Carignani, who last conducted at the COC over a decade ago.
Nabucco is a timeless story of ambition, faith and the redemptive power of love. It should remain a mainstay of the COC repertoire, and hopefully we will not need to wait decades for its return.
Canadian Opera Company presents Nabucco at the Four Seasons Centre for the Performing Arts in Toronto from October 4-25, 2024. www.coc.ca
