Nabucco, Australian Opera, April 16, 1996

Nabucco by Giuseppe Verdi, by Australian Opera

 State Theatre Arts Centre Melbourne

April 16, 19, 22, 24, 27, May 1, 4, 7, 1996

Reviewed by Kate Herbert on April 16, 1996

Sydney must be sniffy about its Verdi. It booed Barrie Kosky's Nabucco last year. The production is a hoot - not that I've ever thought of Nabucco as a hoot before but it makes Verdi accessible to a new, funkier audience - if they could afford the $96 tickets.

It takes enormous risks, some complete clanger, others gems.  The Babylonians are represented by the bestial and the Israelites by the Word of God. Hence the Assyrians worship giant idols (A lime green Mighty Mouse with orange earrings and video screen eyes??) and are decked with dead animals ( a stuffed monkey, three tiger heads, a coat is riddled with scorpions) The Israelites tote words from biblical sentences or wear them as captives' yokes.

The stage picture is derivative of a 19th century melodrama blended with pop iconography. Peter Corrigan's design and Jane Hyland's costumes are striking and at times hilarious. The chorus is enhanced by a corps of extras who are suspended like hanged men, shovel piles of slaves' abandoned shoes and move in militaristic formation.

Carlo Felice Cillaurio conducts the VSO impeccably. Jonathon Summers as Nabucco, with his velvet-smooth and rich delivery, is delightfully playful and sympathetic, managing the vagaries of both role and style.  Elizabeth Connell entered the comic spirit of Kosky's style with zest and sang Abigaille, adopted slave daughter of Nabucco, with passion and skill. They were supported by a strong group of leads.

Accolades went to Bruce Martin who replaced an ailing Donald Shanks as Zaccaria at the eleventh hour. His fine voice, humility and effortless performance were charming.

It would not be a review of Nabucco without a comment on the Slaves' chorus, "Va pensiero" which seems to send audiences (particularly in Italy) into paroxysms of ecstasy or anger depending on its quality. This rendition was fine enough but somehow lacked the delicate dynamic range which is possible in this superb piece.

Go see this if you've got the bucks.

KATE HERBERT