Notes and Editorial Reviews
I sometimes think its worth owning Sinopoli’s recording just to hear [Dimitrova's] wonderful pianissimo top C alone.
-- Ralph Moore, MusicWeb International
In his short but mercurial career in the opera house, on the concert platform and in the recording studios, Sinopoli has already divided opinion quite sharply. There are those who are thrilled by his energy and analytical approach to the work in his hand, others who find his bar-to-bar approach lacking in equilibrium, the price to be paid for the tension and excitement undoubtedly engendered. That he is a conductor with definite views on his so-far restricted repertory is confirmed by this Nabucco, where from the Overture onwards the rudimentary drama
is played for all its worth, sometimes a good deal more... Such detailed treatment can be illuminating as in the chromatic counterpoint to the chorus "Lo vedeste" in Act I and in the strict observance of the moo voce and cupo markings in the concertato "S'appressan gI' istanti"; they make us aware of Sinopoli's arresting sense of theatre...
...Abigaille's aria is an Adagio rather than an Andante, and at that pace Ghena Dimitrova just fails to maintain her legato. The Bulgarian soprano made a great impression in the recent concert performance of La gioconda at London's Barbican Hall. Under the cruel search of the microphone one still admires the histrionic impetus of her singing while noticing that her Italian is not quite idiomatic enough for her to make us live the emotions anew as Scotto succeeded in doing for Muti. Of course, Dimitrova has the more natural voice for this testing part and, apart from some hardening under pressure not out of character for the wicked usurper, she fulfils its vocal requirements unstintingly, the cabaletta fierily declaimed, and her later disdain of her father is evenly and truly sung...
Cappuccilli's Nabucco is voiced and interpreted with all his years of experience in singing a long-breathed line. He exerts a wild authority when he declares himself to be God, sings with deep eloquence in the "0 di qual'onte aggravasi" section of his duet with Abigaille. and pathos in "Dio di Giuda"... Nesterenko is, for the most part, an imposing Zaccaria, a little in the Christoff vein...
Perhaps the most beautiful singing on the whole DG set comes from Valentini-Terrani whose last-act Preghiera is sung with an understanding of its simple tenderness, far in advance of anything achieved by either of her rivals. Domingo is classy casting for the minor part of Ismaele and he takes his few chances to show what can be done with little... As a whole I enjoyed hearing this performance for the immense vigour displayed on all sides.
-- Gramophone [7/1983]
Works on This Recording
Nabucco by Giuseppe Verdi
Piero Cappuccilli (Baritone),
Placido Domingo (Tenor),
Yevgeny Nesterenko (Bass),
Ghena Dimitrova (Soprano),
Lucia Valentini-Terrani (Mezzo Soprano),
Lucia Popp (Soprano),
Kurt Rydl (Bass),
Volker Horn (Tenor)
Berlin Deutsche Oper Chorus,
Berlin Deutsche Oper Orchestra
Written: 1842; Italy
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