Verdi’s Nabucco is back at the Opéra de Marseille after a 28-year absence, played by Juan Jesús Rodríguez, under the direction of Paolo Arrivabeni, in a staging by Jean-Christophe Mast, produced by the Opéra de Saint -Etienne.
The mythical chorus of this opera, the “Va Thought” which is still regularly used to pass messages inside and outside the theaters, welcomes the public here even before they enter the building, sung vigorously from the terraces by the choristers opposed to the pension reform.
The motif will then resonate with delicacy in the room, in response to the orchestra in numbers and important sound timbre following the precise gestures of Paolo Arrivabeni, who ensures an effective rhythm. The sonic dough, with to grow ample, is shimmering in the forte. The virtuoso and nuanced solos of the transverse flute in particular offer aerial trills.
Jean-Christophe Mast’s staging is symbolic and stripped down. A huge Star of David is projected on a black curtain. The flexible curtains draw the spaces and allow plays of light produced by Pascal Noël (the orange color announcing the revenge which is about to fall). The people -of the choir- appear in overexposure in this light, on this stage where the costumes -by Jérôme Bourdin- draw the Manichean oppositions between the Babylonians in black and the Hebrews in white under the threat of long spears held by disturbing warriors Assyrians.
The choreography (by Laurence Fanon) in the Hanging Gardens of Babylon even employs these spears in a warrior and acrobatic ballet.
A few objects complete the sober staging: a large cube, a sort of pedestal raising the dominating characters (of the moment), among a staircase in the middle of the stage, an immense chandelier, a symbolic and dangerous crown.
Juan Jesús Rodríguez is announced ill before the performance, but performs the show. Saving his voice but imperceptibly during Act I, he then effectively deploys the different facets of his character with his powerful, stamped line, with dense bass which affirm his authority and his madness, when he takes himself for God. He is then struck down by a flash that dazzles the public, then plunged into darkness and complete silence. Nabucco, now without a crown, without hair, a tear on his cheek, remains on a wooden wheelchair. Juan Jesús Rodríguez then deploys his medium, with a slight vibrato, expressive highs supported by a constant breath, the vocal line being clearly articulated. His imposing palette of nuances releases a palpable emotion, when he fears the assassination of his daughter.
Csilla Boross portrays a destructive Abigail, thirsty for power and revenge, with a projected voice covering a particularly wide range. It combines technique with expressiveness. The bass is solid. The delicate highs in the most pious become intense in fortewhile maintaining impeccable accuracy.
Marie Gautrot embodies Fenena (captive daughter of Nabucco), with her mezzo soprano with a clear emission, ample and supple phrasing, with an elegant vibrato in the medium and stamped bass.
The role of Anna, sister of the prophet Zaccaria, falls to Laurence Janot, always present even with the choir for expressive interventions, with an ample and fruity voice with projected high notes and a luminous timbre.
Simon Lim portrays Zaccaria, a bass-voiced prophet preaching courage and hope to the Hebrews. The clearly articulated vocal line, with controlled power and vibrato, leads to sustained and deep bass, particularly moving. The numerous and intense nuances reinforce the authority of the character.
Jean-Pierre Furlan, in the role of Ishmael, sings of his love for Fenena from his high-ranking tenor, with neat phrasing, with a fluid, silky midrange and brassy highs.
Jérémy Duffau (Abdallo) and Thomas Dear (the High Priest), speak with a sharply articulated and nuanced melodic line, the former with a projecting tenor voice with brilliant highs, the latter with a powerful and nuanced bass voice. .
The Chorus of the Opéra de Marseille prepared by Emmanuel Trenque, embodies the unity of the Hebrew people, respecting the emotions, nuances and tempi ordered by the baton of Paolo Arrivabeni. The vertex is of course again the “Go thought”, which rises like a single voice sung by the slaves on a luminous background.
The full house of the Opéra de Marseille gives an unrestrained ovation, with cheers and applause, the artists who have come to greet, with a preference for the formidable Abigaïlle, the title role and the choirmaster, delighted, receiving these homages by hand on the heart.
