A Middle East Crisis Revisited

In the Middle East, ‘twas ever thus: political chaos, ongoing wars and skirmishes, the good guys and the bad guys often indistinguishable, an abundance of martyrs and victims, rampant betrayals, fractious encounters, families torn apart or alienated.

That is the message of “Nabucco,” Giuseppe Verdi’s third opera and first acknowledged masterpiece, a biblical-era epic set in the 6th century and still relevant, particularly in its patriotic and nationalist themes, today. The work, new to Los Angeles Opera, opened at the Dorothy Chandler Pavilion Sunday night and runs in repertory with Puccini’s “Girl of the Golden West” through the end of the month.

Even with its inconsistencies and weak moments, the score shines with musical vigor, dramatic fervor and inspired melodies in telling the story of Nebuchadnezzar (Italianized to Nabucco), the Assyrian king of Babylon. At war with the Hebrews at the Temple of Solomon, he also suffers tribulations from his two daughters, is struck by lightning, and goes mad. The daughters struggle with each other for power, Nabucco recovers his sanity and converts to Judaism; at the end, the family is reunited by the death of the scheming daughter, Abigaille.

The two principal roles, those of Nabucco and Abigaille, inaugurate the canon of unforgettable characters in Verdi’s catalog. And the chorus, the third protagonist in this work, begins an operatic tradition still in force today.

The Elijah Moshinsky production, created for Lyric Opera of Chicago and presented here with efficient stage direction by Thor Steingraber, is handsomely revealed by lighting designer Alan Burrett. Still, it is not much to look at, consisting in four acts of mainly awkward stairs and steps and large and plain set constructions. And Jane Greenwood’s black and red costumes--uniforms, really--are generally unflattering and unimaginative.

However, the visuals can be unimportant when the singing is right, and the singing from this cast emerges on a high level .

The Georgian baritone Lado Ataneli can boast one of the healthiest, roundest, most mellifluous voices on the planet, and he sings the title role wonderfully. One expects his acting will grow in projection, intensity and dimension with time. For now, he is admirable but limited. Maria Guleghina, on the other hand, delivers all the temperament and colors in her lodestar assignment. Abigaille is a part that demands complete musical command and subtle acting skills, combining the heroism of Joan of Arc with the deviousness of Lady Macbeth. Guleghina lives the role, sings all the notes and explores all the facets. In a world of false divas, she is the real thing.

Kate Aldrich reveals unspoiled, handsome vocalism in the difficult music given Fenena throughout the opera; she also proves herself a canny, stage-worthy actor. Mexican tenor Jose Luis Duval sings respectably as Ismaele. Arutjun Kotchinian, a singer new to the company--and a replacement for Carlo Colombara, who canceled because he is ill--is a Zaccaria more impressive at the top of his range than at the bottom.

Prepared by chorus master William Vendice, the large chorus performed “Va, pensiero” most handsomely, and had to repeat it, as tradition allows. Both times, the audience cheered. The chorus, in fact, sang well once the opera was underway, despite a ragged and raucous beginning.

Lawrence Foster’s presence on the podium proved reassuring in all the right ways. Things started together and stayed together, and the orchestra’s playing of the Overture was thrilling. From then on, one felt Verdi was in the best possible hands.

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Verdi’s “Nabucco,” Los Angeles Opera at the Dorothy Chandler Pavilion, 135 N. Grand Ave., L.A., Thursday, Saturday and Sept. 18, 21 and 25 at 7:30 p.m., and Sept. 28 at 2 p.m. $31-$170. (213) 365-3500.