Giuseppe Verdi

Nabucco

Dec 12 - Jan 7 Buy Tickets from $27

The legendary Plácido Domingo brings another new baritone role to the Met under the baton of his longtime collaborator James Levine. Liudmyla Monastyrska is Abigaille, the warrior woman determined to rule empires, and Jamie Barton is the heroic Fenena. Dmitri Belosselskiy is the stentorian voice of the oppressed Hebrew people.

Read Synopsis
  • Sung In
  • Italian
  • Met Titles In
  • English
  • German
  • Italian
  • Spanish
  • Estimated Run Time
  • 2 hrs 44 mins
  • House Opens
  • Acts I & II 75 mins
  • Intermission 35 mins
  • Acts III & IV 54
  • Opera Ends
Dec 12 - Jan 7 Buy Tickets from $27

Cast

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TBA

Performed
Performing
All Dates
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World premiere: Milan, Teatro alla Scala, 1842. The success of Verdi’s third opera, a stirring drama about the fall of ancient Jerusalem at the hands of Nebuchadnezzar (Nabucco), catapulted the 28-year-old composer to international fame. The music and Verdi himself were subsumed into a surge of patriotic fervor culminating in the foundation of the modern nation of Italy. Specifically, the Chorus of the Hebrew Slaves (“Va, pensiero”), in which the Israelites express their longing for their homeland, came to stand for the country’s aspirations for unity and that exciting era in Italian history, the Risorgimento, or “Resurgence.”

Creators

In a remarkable career spanning six decades in the theater, Giuseppe Verdi (1813–1901) composed 28 operas, at least half of which are at the core of today’s repertoire. His role in Italy’s cultural and political development has made him an icon in his native country. Temistocle Solera (1815–1878) was a professional librettist and, early in his career, a composer of moderate success. He also provided Verdi with the librettos for his first opera, Oberto, and the subsequent I Lombardi, Giovanna d’Arco, and Attila.

Production Elijah Moshinsky

Set Designer John Napier

Costume Designer Andreane Neofitou

Lighting Designer Howard Harrison

Giuseppe Verdi

Composer

Giuseppe Verdi

Setting

Solera’s libretto takes some liberties with biblical history, and the characters other than the title role are dramatic inventions. But the story as a whole stays close to events as they are related in Jewish scriptures: primarily Jeremiah, as well as 2 Kings, 2 Chronicles, Daniel, and the Psalms. The first part takes place around the destruction of the first temple in Jerusalem in 586 B.C., with the remainder of the opera set in various locations in the city of Babylon.