July 5, 2020

"Nabucco", the disguised weakness

Verdi's Placido Domingo, Amartuvshin Enkhbat, Arturo Chacón-Cruz, Riccardo Zanellato, Anna Pirozzi, Alisa Kolosova. Scenic direction: Thaddeus Strassberger. Musical direction: Jordi Bernàcer. Palau de les Arts. Valencia, 2-XI-2019.

Within the reason that dominates the world, this representation was one more. The first performance of Plácido Domingo after the incidents and Valencia awaited him with expectation and gratitude. But not only Valencia. The harassment of the press after the news has been striking: only tenor mattered. And, as someone has done things wrong, he has left a lot of angry press. All had asked for interviews and only two were published instead of organizing a press conference. So angry has it been that, after so much interest, it no longer mattered to know if Domingo had been applauded much or little. Life things.

Yes, he was cheered after each of his interventions and especially after his final "preghiera" and at the end of the performance, before the premiere of "Nabucco" on the Scala was simulated in 1842, with "Viva" posters Verdi ”and leaflets from the heights with“ Thank you Plácido ”. There are times when the text of an opera suggests a more immediate reality.

Nabucco sings that he is weak, that he does not want the people to know about it and that he wants to appear strong. The same happened to Domingo, personally and vocally. No doubt they have had to affect the events and resent both physical and voice but, as he has rested after canceling performances, he has not been warned so much. He no longer tries to obscure the voice. It's not Nabucco, it's Placid, for better and for worse. He still admires his phrasing in the central register, even the beauty of the doorbell, but opera is not just that. I don't think it's the right time to expose the reflection I made during the show. There will be occasion. Let the artist now collect the gratitude and affection we all feel for him.

Anna Pirozzi was an Abigaille -incantable paper- of enormous flow in the forte-treble, opaque in the bass and with problems in the coloraturas. Arturo Chacón-Cruz contributed dignity in the brief role of Ismaele, as well as Alisa Kolosova and Fenena. Lazy instead the low. Zacarías de Riccardo Zenatello lacked substance, serious and acute. Jordi Bernàcer knew how to keep alive, with a pulse, a representation that suffered for the cast and, above all, for the scene.

The co-production of Washington, Minnesota and Philadelphia simulated the premiere of "Nabucco", with boxes on the left of the stage, spectators and period soldiers, as an excuse for some cardboard decorated stone fabrics painted without being those of the "Aida" of Mestres Cabanes del Liceo.

Valencia was with Plácido Domingo. Too bad the show was not dedicated to Helga Schmidt! Another who has much to thank.


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