{"id":33916,"date":"2016-03-08T08:51:12","date_gmt":"2016-03-08T14:51:12","guid":{"rendered":"http:\/\/news.medill.northwestern.edu\/chicago\/?p=33916"},"modified":"2016-03-08T08:51:12","modified_gmt":"2016-03-08T14:51:12","slug":"lyric-impresses-with-imperfect-yet-invigorating-production-of-nabucco","status":"publish","type":"post","link":"https:\/\/news.medill.northwestern.edu\/chicago\/lyric-impresses-with-imperfect-yet-invigorating-production-of-nabucco\/","title":{"rendered":"Lyric impresses with imperfect yet invigorating production of \u201cNabucco\u201d"},"content":{"rendered":"

By Frances Van de Vel<\/strong><\/p>\n

A lustrous production that dazzled the eye despite uneven vocal performances. That was Lyric Opera of Chicago\u2019s recipe on Feb. 6 for its new-to-Chicago production of Verdi\u2019s biblically inspired \u201cNabucco.\u201d The opera\u2019s nine-performance run opened at the Civic Opera House on Jan. 23.<\/p>\n

Lyric debutant Matthew Ozawa directed this modern production, which both respected the source material and draped it in a modern, stylish garment, seeking contrast in primary colors through a sleek set design and vivid vestments.<\/p>\n

<\/p>\n

Set designer Michael Yeargan turned the scene into a minimalist deep blue palace, with bronze statues of rearing \u00a0horses announcing Nabucco\u2019s arrival. In the throne room scene, site of an emotional duet between the Babylonian monarch Nabucco and his daughter Abigaille (actually the child of slaves), the set intensified the drama with an elevated throne and stairs in sharp profile. The blatantly confident Abigaille symbolically stood higher on stage than the despairing Nabucco, who feared for the life of his younger daughter, Fenena.<\/p>\n

But the true value of that scene\u2019s staging lay in the exquisite dialogue between lighting and projections, designed by Duane Schuler and Chris Maravich respectively. Abigaille\u2019s domination and radiant confidence were fiercely emphasized under a golden spotlight, while a delirious Nabucco cowered at the bottom of the steps in grim darkness.<\/p>\n

When the Babylonian king proclaimed, \u201cabove me the sky is crimson raining blood on my head,\u201d before collapsing in a streak of wild madness, the combination of red-clothed attendants and red projections coloring the wall behind them seemed to suggest even the castle itself was weeping bloody tears.<\/p>\n

Designer Jane Greenwood\u2019s costumes cleverly translated the discrepancies between the opposed nations: the Jews in stark black and cold white, the attacking Babylonians, led by a sapphire-clad Abigaille, flooded the stage in scarlet.<\/p>\n

The cast tried feverishly to provide a vocal match for all this visual splendor, with varying degrees of success.<\/p>\n

Russian soprano Tatiana Serjan overshadowed everyone else as Abigaille, the warrior princess with a fiery mane. Throughout her arias, her crystal-clear coloratura effortlessly descended into her warmer, lower register and climbed back into the soprano stratosphere, sometimes even within a single syllable. This vocal flexibility highlighted two contradictory yet crucial aspects of Abigaille\u2019s tragic personality: the vehement determination of her illegitimate quest for the throne and her poignant vulnerability when that burning hope proves futile.<\/p>\n

The only noteworthy vocal counterpoint to Serjan\u2019s powerful Abigaille was baritone \u017deljko Lu\u010di\u0107\u2019s Nabucco. In one of their duets, \u201cOh di qual\u2019 onta aggravasi questo mio crin canuto (Oh, what shame must my old head suffer),” \u00a0he begged Abigaille with a heartfelt emotion to save Fenena\u2019s life. The Serbian singer\u2019s golden-voiced plea blended eloquently with Serjan\u2019s outraged vocal stabs.<\/p>\n

Fenena had little time on stage, yet Elizabeth DeShong\u2019s velvety mezzo-soprano beautifully captured the princess\u2019s kind-hearted character. Her sweet-sounding significant other, Ismaele, sung by Russian tenor Sergei Skorokhodov in his Lyric debut, mellifluously complemented DeShong\u2019s gracious Fenena.<\/p>\n

Both roles were smaller than that of the Jewish High Priest Zaccaria, \u00a0yet the solemn bass of Dmitry Belosselskiy (another Lyric debutant) sometimes lacked the required potency, occasionally failing to fully reach Zaccaria\u2019s lowest notes.<\/p>\n

The chorus, on the other hand, provided one of the evening\u2019s predictable highlights with the captive Jews\u2019 wistful lament, \u201cVa, pensiero sull\u2019ali dorate (Fly, thoughts, on golden wings).” No fewer than 82 people, neatly organized by director Ozawa and dressed in pale robes to match the swirling clouds projected behind them, delivered a powerful performance of that famous chorus. They faithfully explored the delicate, softer passages, and the emphatic, louder sections positively burst with nostalgic desire.<\/p>\n

However, this pulsating vigor disappeared as soon as the chorus split between men and women, notably in the Jews\u2019 fear-ridden \u201cGli arredi festivi gi\u00f9 cadano infranti (Throw down and destroy all festive decorations).\u201d While the men delivered robust sound, the women sounded more pallid.<\/p>\n

Whatever the quality of their voices, all the singers were solidly supported by the warm, full-bodied accompaniment of Lyric\u2019s virtuoso orchestra conducted by Carlo Rizzi. The flutes especially caught the ear, with musical strokes that were at times fragile and eerie, then icy as cold steel.<\/p>\n

Despite its flaws, \u201cNabucco\u201d still managed to rivet its audience for just under three hours. The singers populating its stunning set may have differed in vocal quality, yet their forceful ensemble performance was alluring. We were almost disappointed when they let us go.<\/p>\n

\u201cNabucco\u201d ended its run Feb. 12.<\/p>\n

Photo at top: In a minimalistic yet stunning set, rearing metallic horse statues announce the grand arrival of the Babylonian monarch Nabucco. (Andrew Cioffi\/LYRIC OPERA OF CHICAGO)<\/div>\n
\"Nabucco12\"<\/a><\/div><\/div><\/div>
Zaccaria (Dmitry Belosselskiy ) warns the Israelites of the upcoming upheaval. (Cory Weaver\/LYRIC OPERA OF CHICAGO)<\/figcaption><\/figure>
\"Nabucco11\"<\/a><\/div><\/div><\/div>
High Priest Zaccaria (Dmitry Belosselskiy) tells his people that God will surely destroy the Baylonians. (Andrew Cioffi\/LYRIC OPERA OF CHICAGO)<\/figcaption><\/figure>
\"Nabucco10\"<\/a><\/div><\/div><\/div>
Fenena (Elizabeth DeShong) is held hostage by the Jewish people, who pray for Nabucco’s surrender. (Cory Weaver\/LYRIC OPERA OF CHICAGO)<\/figcaption><\/figure>
\"Nabucco09\"<\/a><\/div><\/div><\/div>
Fenena (Elizabeth DeShong) abandons her faith to be with her lover Ismaele. (Andrew Cioffi\/LYRIC OPERA OF CHICAGO)<\/figcaption><\/figure>
\"Nabucco08\"<\/a><\/div><\/div><\/div>
Fenena (Elizabeth DeShong) and Ismaele (Sergei Skorokhodov) recall their first meeting. (Cory Weaver\/LYRIC OPERA OF CHICAGO)<\/figcaption><\/figure>
\"Nabucco07\"<\/a><\/div><\/div><\/div>
The men in the chorus delivered robust sound on stage. (Cory Weaver\/LYRIC OPERA OF CHICAGO)<\/figcaption><\/figure>
\"Nabucco06\"<\/a><\/div><\/div><\/div>
High Priest Zaccaria (Dmitry Belosselskiy, middle) and the Jewish people fearfully await Nabucco’s attack. (Cory Weaver\/LYRIC OPERA OF CHICAGO)<\/figcaption><\/figure>
\"Nabucco05\"<\/a><\/div><\/div><\/div>
Ismaele (Sergei Skorokhodov), nephew of the King of Jerusalem, has fallen in love with Fenena, daughter of the enemy. (Cory Weaver\/LYRIC OPERA OF CHICAGO)<\/figcaption><\/figure>
\"Nabucco04\"<\/a><\/div><\/div><\/div>
Abigaille (Tatiana Serjan) and her younger sister Fenena (Elizabeth DeShong) fight for the crown. (Cory Weaver\/LYRIC OPERA OF CHICAGO)<\/figcaption><\/figure>
\"Nabucco03\"<\/a><\/div><\/div><\/div>
Abigaille (Tatiana Serjan) addresses her subjects. (Cory Weaver\/LYRIC OPERA OF CHICAGO)<\/figcaption><\/figure>
\"Nabucco02\"<\/a><\/div><\/div><\/div>
Abigaille (Tatiana Serjan) discovers that she is not a princess, but the child of slaves. (Andrew Cioffi\/LYRIC OPERA OF CHICAGO)<\/figcaption><\/figure>
\"Tatiana<\/a><\/div><\/div><\/div>
Abigaille (Tatiana Serjan) awaits her father in the throne room. (Cory Weaver\/LYRIC OPERA OF CHICAGO)<\/figcaption><\/figure><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

By Frances Van de Vel A lustrous production that dazzled the eye despite uneven vocal performances. That was Lyric Opera of Chicago\u2019s recipe on Feb. 6 for its new-to-Chicago production of Verdi\u2019s biblically inspired \u201cNabucco.\u201d The opera\u2019s nine-performance run opened at the Civic Opera House on Jan. 23. Lyric debutant Matthew Ozawa directed this modern […]<\/p>\n","protected":false},"author":256,"featured_media":33961,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[194,585],"tags":[],"class_list":["post-33916","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts-culture","category-winter-2016"],"yoast_head":"\nLyric impresses with imperfect yet invigorating production of \u201cNabucco\u201d - Medill Reports Chicago<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/news.medill.northwestern.edu\/chicago\/lyric-impresses-with-imperfect-yet-invigorating-production-of-nabucco\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Lyric impresses with imperfect yet invigorating production of \u201cNabucco\u201d - Medill Reports Chicago\" \/>\n<meta property=\"og:description\" content=\"By Frances Van de Vel A lustrous production that dazzled the eye despite uneven vocal performances. That was Lyric Opera of Chicago\u2019s recipe on Feb. 6 for its new-to-Chicago production of Verdi\u2019s biblically inspired \u201cNabucco.\u201d The opera\u2019s nine-performance run opened at the Civic Opera House on Jan. 23. 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That was Lyric Opera of Chicago\u2019s recipe on Feb. 6 for its new-to-Chicago production of Verdi\u2019s biblically inspired \u201cNabucco.\u201d The opera\u2019s nine-performance run opened at the Civic Opera House on Jan. 23. 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