NABUCODONOSOR

Giuseppe Verdi

  • 27
    Sep
    2026
  • 30
    Sep
    2026
  • 3
    Oct
    2026
  • 11
    Oct
    2026
  • 18
    Oct
    2026
  • 24
    Oct
    2026

about

Musica Giuseppe Verdi

Dramma lirico in quattro parti su libretto di Temistocle Solera dal dramma Nabuchodonosor di Auguste Anicet-Bourgeois e Francis Cornu e dal ballo Nabuccodonosor di Antonio Cortesi

Edizione critica a cura di Roger Parker, The University of Chicago Press e Casa Ricordi, Milano

Prima rappresentazione il 9 marzo 1842 al Teatro alla Scala di Milano

Durata 2 ore 25 min, compreso un intervallo


direttore Francesco Lanzillotta
regia, scene, costumi Pier Luigi Pizzi
regista collaboratore e luci Massimo Pizzi Gasparon Contarini
movimenti di scena Marco Berriel

ORCHESTRA DEL TEATRO COMUNALE DI BOLOGNA
CORO DEL TEATRO REGIO DI PARMA

Maestro del coro Martino Faggiani

Nuovo allestimento Teatro Regio di Parma
In coproduzione con Teatro Comunale di Bologna – Teatro Carlo Felice di Genova

spettacolo con sopratitoli in italiano e inglese

Sun 27 Sep
20:00
Under30 rehearsal
Wed 30 Sep
15:30
Rehearsal
Sat 3 Oct
20:00
Sun 11 Oct
16:00
Sun 18 Oct
20:00
Sat 24 Oct
20:00

Ticket a partire da 10 euro

Comunicazione Aumentativa Alternativa

Synopsis

PART I – JERUSALEM

In the temple of Solomon, virgins, Jews and Levites recite a lamentation against the fate of the kingdom of Israel, which is under threat from Nebuchadnezzar (Nabucco), king of Assyria (“Gli arredi festivi”). High Priest Zaccaria arrives with news to partially revive spirits; the Jews are holding Fenena, Nabucco’s daughter, hostage. Perhaps with his mediation the Assyrians will withdraw, and he invites the Jews to trust in God (“D’Egitto là sui lidi”). The arrival of Ismael, however, returns the anguish as he bears badnews: Nabucco’s arrival is imminent. Zaccaria entrusts Fenena to Ismael, promising that the God of Israel will prevail over that of Belo (“Come notte a sol fulgente”). Ismael is delighted with the move to entrust him with Fenena. He has been in love with her ever since they met when he was ambassador to Babylon, and she has saved him twice: once from Nabucco’s prison and then from the mad love of her eldersister, Abigaille. Of course, Fenena is now a slave, and she reluctantly reminds Ismael of this. Undeterred, he swears to her freedom and accompanies her through a secret door, butonce opened, Abigaille appears before them along with Assyrian soldiers disguised as Jews. Upon seeing them, Abigaille accuses Ismael of betraying his people and declares that her love for him has now turned to hate (“Io t’amava…”). The troops commanded by Nabucco are approaching. Abigaille precedes him and helps the Assyrians break into the temple. In the ensuing panic, Zaccaria alone imposes his charisma and reminds Nabucco that he has Fenena in his hands and threatens to kill her if he dares to desecrate the temple. Surprisingly, it is Ismael who stops Zaccaria. Fenena runs into her father’s arms and Nabucco promises revenge. Zaccaria and the Jews curse Ismael.

PART II – WICKED

Abigaille has stolen a document from her father which shows she is not the king’s daughter but the daughter of slaves; for this reason Nabucco has destined Fenena to succeed him to the throne. Incensed, she threatens Assyria, her father, and Fenena, and recalls when love had once made her happy (“Anch’io dischiuso un giorno”). Then unexpected news brings her hope: the high priest of Belo warns her that Fenena is freeing the Jews. Knowing Abigaille can not oppose the true heir to the throne at that moment, the priest devises a plan to spread arumour that Nabucco has fallen in battle and to urge the people to acclaim her as queen. She relishes the idea of the slave who becomes sovereign (“Salgo già del tronoaurato”). After Zaccaria invokes the Lord to speak to the enemy according to the law, the Levites encourage Ismael to flee and curse him for having betrayed his people (“Il maledetto nonha fratelli”). Only Anna calls for mercy, pointing out that he has saved a Jew. Fenena, infact, has converted to the God of Israel. Meanwhile, the false rumour of Nabucco’s death in battle spreads: Abdallo announces it, adding that Abigaille is now queen as acclaimed by the Assyrians. Abigaille is present and orders Fenena to give her the crown. Confusion breaks out but to everyone’s astonishment, Nabucco appears, takes the crown and places it on his own head (“S’appressan gl’istanti”). The old man rejects the God.

PART III – PROPHECY

In the hanging gardens of Babylon, Abigaillesits on the throne, surrounded by magi andthe Greats of Assyria. The high priest calls for the end of the Jews, beginning with Fenena (“È l’Assiria una regina”). Nabucco, with torn clothes, an unkempt beard, and an uncertain gait, appears at the height of his mental insanity. Abigaille orders him to be locked up, but the old king wants the throne back and accuses the woman of insolence. She promptly replies that she is acting forthe good of Babylon. Indeed, she urges him to quickly sign the deed of succession. At Nabucco’s hesitation, the new queen accuses him of cowardice. He gives in, butrealizes that by doing so he has also condemned Fenena, who, as Abigaille reveals, has converted. Now she – the new queen- is his only daughter. Shocked, Nabucco searches for the document that attests to Abigaille’s servile origin, but it is in vain: the woman who came into its possession destroys it (“Donna, chi sei?”) and orders that Nabucco be taken to jail. Desperate, he asks that at least Fenena be returned to him. On the banks of the Euphrates meanwhile the chained Jews think nostalgically of their homeland (“Va, pensiero”), which draws Zaccaria’s disapproval. He urges them not to complain as cowards, but to react. And he prophesises their future liberation (“Del futuro nel buio discerno”).

Part IV – THE BROKEN IDOL

In his palace, Nabucco is sleeping. Battle sounds wake him. He believes that Belo is falling into the hands of the Jews. From the window he sees Fenena being dragged to her execution. He tries in vain to leave but realises that his palace is really a prison. Desperate, he begs the God of the Jews for forgiveness (“Dio di Giuda”). He is restored to his former self. Abdallo arrives. Nabucco shows him that he has regained his mental faculties and demands that he give him his sword. Abdallo obeys, relieved. The old king instructs the guards to free Fenena (“O prodi miei seguitemi”). Just as Fenena is to be put to death (“Oh dischiuso è il firmamento!”), Nabucco appears with Abdallo and the guards. The statue of Belo falls to the ground and breaks. Nabucco explains that his recovery is the will of the God of Israel, who rendered him insane when he was a ruth less tyrant and made Abigaille, who in the mean time has drunk poison, crazy with ambition. They all bow down giving thanks to God (“Immenso Jeovha”). Zaccaria shows the Jews that he rightly announced their future redemption. The miserable Abigaille, now gasping for life, pleads for Fenena’s forgiveness and even blesses her love with Ismael. Finally she dies asking for mercy from God (“Su me, morente, esanime”), while Zaccaria greets Nabucco, the king of kings.  

Cast

Nabucodonosor
Ariunbaatar Ganbaatar
Ismaele
Andrés Moreno García
Zaccaria
Michele Pertusi
Abigaille
Lidia Fridman
Fenena
Laura Verrecchia
Il Gran Sacerdote di Belo
Adriano Gramigni
Abdallo
Simone Fenotti
Anna
Maria Cristina Bellantuono

Information

Fondazione Teatro Regio di Parma
strada Garibaldi, 16/a
43121 Parma – Italia
Tel (+39) 0521 203911

Public transport
Bus lanes 1, 2, 15
Via Mazzini: bus lanes 3, 4, 5, 8
Piazza Ghiaia: bus lanes 6, 7, 8, 9, 11, 12, 13, 21, 23

Parking
Parcheggio Piazza Ghiaia
Parcheggio Toschi

The Teatro Regio in Parma is fully accessible. From the entrance, a straight, level path leads directly to the stalls, where four seats are reserved for wheelchair users. A seat is reserved for a companion in the row adjacent to each seat designated for disabled spectators. The companion must remain present throughout the entire visit to the theatre if the spectator is unable to move independently.

Spectators with temporary mobility impairments who hold a ticket or season ticket of any category (stalls, box, gallery) must notify the Box Office in good time; the Box Office reserves the right to change seat allocations where necessary in accordance with safety regulations. The Theatre also reserves the right to alter the number of available seats for technical or staging requirements.

Share

Calendar Ca
len
dario
2 Oct
Verdi Off
VERDI CIRCUS
3 Oct
Verdi Off
VERDI OFF IN PROVINCIA
3 Oct
Verdi Off
VERDI CIRCUS
4 Oct
Verdi Off
CUCÙ VERDIANO A BUSSETO
4 Oct
Verdi Off
VERDI CIRCUS