Transcendent Chorus in Met’s ‘Nabucco’

If you want to know why “Va, pensiero sull’ali dorate!” (Go, my thoughts on golden wings) is Italy’s unofficial national anthem, tune into the Metropolitan Opera broadcast of Verdi’s “Nabucco” on Sunday at noon on KCET.

Under the inspired leadership of James Levine, the chorus, sung by the Hebrew slaves as they think of their homeland during the bitter captivity in Babylon, reaches sublime heights that transcend national identities. This point is unintentionally driven home as television director Brian Large’s preference for close-ups pans over the faces of the multinational singers. They all stay in character even when, contrary to modern opera practice, Levine repeats the chorus, to the ecstatic delight of the audience. (The production was taped during the 2000-01 season.)

There’s much more to Verdi’s third opera--and first international blockbuster--than this wonderful moment, of course. For starters, there’s the killer role of Abigaille, the wicked, presumed daughter of Nabucco (a.k.a. Nebuchadnezzar), who chews up octaves at an alarming but thrilling rate. She’s sung here powerfully by Maria Guleghina, who also shows the vulnerable side of this monster’s character.

Zaccaria, the High Priest of the Hebrews, is sung and enacted by Samuel Ramey at his oracular best, even if the voice has lost some of its sheen and tends to wobble in sustained lines.

Wendy White sings Fenena, Nabucco’s real daughter, who converts to the Hebrew god, with sweetness and conviction. Gwyn Hughes Jones, in the comparatively small tenor lead role of Ismaele, sings brightly.

The weak link in the chain is Juan Pons in the title role. Far from having an ideally flexible and rich baritone, Pons pretty much sings and acts his monochromatic way through the role, which has King Lear potential. He’s best at his moments of introspective repentance. Nabucco, too, converts.

The Met chorus has other opportunities to shine, and the orchestra takes flight under Levine’s vigorous, lyrical conducting.

The Met’s turntable stage allows quick scene changes of John Napier’s two-sided faux-stone set, and the four acts transpire with only one intermission (2 1/2 hours). Elijah Moshinsky created the production.

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“Nabucco” airs Sunday at noon on KCET-TV.