Nabucco Transmission Transcript

READ:  Blue Show Intro

ANGEL BLUE:  Hello.  I’m Angel Blue and I’m delighted to be your host for today’s performance of Verdi’s Nabucco.  This biblical epic was the opera that catapulted a young Guiseppe Verdi into international fame in 1842.  Audiences loved the sweeping story and the rousing score, in particular, the chorus “Va, pensiero,” which rallied the spirits and captured the hearts of the Italian people at a time when they were conquered and divided.

The opera centers on the Babylonian king Nebuchadnezzar or Nabucco, sung today by baritone George Gagnidze.  Soprano Liudmyla Monastyrska takes on the fiendishly difficult role of the power-mad Abigaille.  They are joined by bass Dmitry Belosselskiy as the high priest Zaccaria, mezzo-soprano Maria Barakova as Nabucco’s daughter Fenena, and tenor SeokJong Baek making a much-heralded Met debut in the – in the role of Ismaele.

Maestro Daniele Callegari is ready to go in the pit.  Here is Nabucco.  

INTERVIEW:  Blue w/ George Gagnidze & Liudmyla Monastyrska

ANGEL BLUE:  Bravi.  Wow.  Bravi, bravi, bravi, that was spectacular.  Wonderful, Liudmyla and George.

GEORGE GAGNIDZE:  Very good.

ANGEL BLUE:  This is such a thrilling and dramatic end to the act – the end of the act.  Your characters have such intense personalities.  Do you enjoy acting these roles as well as singing them?

GEORGE GAGNIDZE:  So, it is monumental opera, you know, and but I love also acting and singing.  That’s it, really.  Really a big something for me – it’s really great.  I feel very well in this role.  Thank you so much.

ANGEL BLUE:  Yes.  Although, thank you because this is spectacular.  How do you feel about Abigaille and acting this role?

LIUDMYLA MONASTYRSKA:  I’m extremely happy.  Thank you for your question.  Actually, it’s my favorite role.

ANGEL BLUE:  Yes.

LIUDMYLA MONASTYRSKA:  I have two.  I have Norma by Bellini and Abigaille by Verdi.

ANGEL BLUE:  Wow, both very difficult.

LIUDMYLA MONASTYRSKA:  (Laughs)  Oh, yeah.

ANGEL BLUE:  Verdi was only 28-years old when this opera premiered.  What makes singing early Verdi different than singing later Verdi?

LIUDMYLA MONASTYRSKA:  It’s totally different.

ANGEL BLUE:  Yes?

LIUDMYLA MONASTYRSKA:  My opinion, yeah, because it’s very –

ANGEL BLUE:  Can you bring the mic up just a bit?  Just –

LIUDMYLA MONASTYRSKA:  Sorry – sorry, excuse me.  It’s very technical.

ANGEL BLUE:  Uh-huh.

LIUDMYLA MONASTYRSKA:  Technical roles, you know?

ANGEL BLUE:  Yes.

LIUDMYLA MONASTYRSKA:  Like, uh, Abigaille or Atilla – Odabella from Atilla, or Due Foscari, you know, like that.

ANGEL BLUE:  Yes.

LIUDMYLA MONASTYRSKA:  I did this – uh, all roles, I know what I mean – you know, actually.

ANGEL BLUE:  Yes.

GEORGE GAGNIDZE:  It’s close to the bel canto tradition early Verdi.  You know, one of the first operas – Verdi, it’s very close to bel canto tradition.  You need wonderful legato lines.

ANGEL BLUE:  Yes.

GEORGE GAGNIDZE:  And you have to – good breath and you have to –

ANGEL BLUE:  Yes.

LIUDMYLA MONASTYRSKA:  Absolutely.

GEORGE GAGNIDZE:  And also stamina because it’s a really huge role.

ANGEL BLUE:  Yes.

GEORGE GAGNIDZE:  Also for Abigaille.

ANGEL BLUE:  Yes, that actually takes me to my next question.  Abigaille is considered one of the most difficult soprano roles – roles ever written, as is Norma actually.  In your – in your opinion, why is it so hard?  What makes it so difficult?

LIUDMYLA MONASTYRSKA:  Because, you know, for example, my aria, my cabaletta, you know, it’s too different times.  First times it’s more easy – easier, actually.

ANGEL BLUE:  Yes.

LIUDMYLA MONASTYRSKA:  (Singing) Uh, and the second one is (Singing) –  you know, it’s small-small.  This one –

ANGEL BLUE:  Yes.

LIUDMYLA MONASTYRSKA:  Very important scenes. But I should – I should do this.

ANGEL BLUE:  Yes.

LIUDMYLA MONASTYRSKA:  All sopranos should do this.  Actually why – actually, that’s my opinion.

ANGEL BLUE:  Oh, that’s fantastic.  As Ukrainians – as Ukraine’s, excuse me –

LIUDMYLA MONASTYRSKA:  Yeah.

ANGEL BLUE:  – leading soprano, if I may, is there a message that you have for the world that you’d like to share?  And, George, same for you.  I’d like to ask both of you this question.  What message do you have for the world today?

GEORGE GAGNIDZE:  Very interesting because always, uh, and my role is changing – where it is changing, yeah?  The corrupter.  It’s first in violent and (indiscernible) and then it changed after the God punished him and – I mean Nabucco.  And then we see Nabucco not a corrupter.  You know, he’s very, very sad about this.

ANGEL BLUE:  Yes.

GEORGE GAGNIDZE:  Forgiveness and – for – for God.  So, and “Dio di Giuda,” wonderful – this aria,– that’s why.

ANGEL BLUE:  Yes.

GEORGE GAGNIDZE:  Maybe also happened in the world.  (Laughs)  Change on the good side, I mean.

ANGEL BLUE:  Yes.  It does happen –

GEORGE GAGNIDZE:  That is my message.

LIUDMYLA MONASTYRSKA:  Yes, thank you for your question.

GEORGE GAGNIDZE:  Thank you very much.

LIUDMYLA MONASTYRSKA:  Actually, I wish all my, um – all my Ukrainian people, you know, uh, to be strong, strong.  And I wish, uh, their fast victory.  And I wish, um – I wish, um, the peace sky in my country, you know.  And I am very proud to be here.

ANGEL BLUE:  Yes.

LIUDMYLA MONASTYRSKA:  And I am very proud to be Ukrainian  Thank you for – thank you for your question.

ANGEL BLUE:  Oh.

GEORGE GAGNIDZE:  We wish all.  (Laughs)

ANGEL BLUE:  If I may, I’m very proud to have both of you here at the Metropolitan Opera and being able to hear you sing –

LIUDMYLA MONASTYRSKA:  Yeah.

ANGEL BLUE:  And enjoy your voices and your beautiful artistry.  You’re both so amazing.

LIUDMYLA MONASTYRSKA:  Yeah, thank you so much.

ANGEL BLUE:  Thank you so much for speaking with me.

GEORGE GAGNIDZE:  Thank you.

LIUDMYLA MONASTYRSKA:  Thank you.

ANGEL BLUE:  And toi, toi, toi for the rest of the show

LIUDMYLA MONASTYRSKA:  Thank you.  Thank you so much.

ANGEL BLUE:  Thank you.

ROLL-IN B:  Danielle Callegari on Nabucco

Giuseppe Verdi’s career as an opera composer took on a whole new dimension with Nabucco, which he considered a second start of his artistic life.  Maestro Danielle Callegari, our conductor today, recently spoke to us about some of the highlights of this game-changing work.

DANIELLE CALLEGARI:  Nabucco was written after a very sad period because Verdi lost, uh, his wife, two sons.  He decided to stop to compose opera.

Then he was forced by the Merelli, impresario at La Scala, to – to compose this, uh, subject. It was an extremely huge success, and I think that this opera gave to Verde the – the access to the Olympus of the great geniuses of the history.

When we have the first entrance with the choir, it’s a, sort of explosion.  You remain blocked on – on your chair, because it’s so intense, so strong, so powerful.  The choir is, I think, two-thirds of the – the entire length of the music.  The choir is a part of the – of the story.

The “Va pensiero,” always when I do “Va pensiero,” the tension that you have in the audience is different.  I really have the sensation, even if I have my shoulder – I give my shoulder to the audience, but I – I recognize that something special is happening.  It’s a song that has to be played really pianississimo.  It’s not an hymn, it’s not an anthem.  It’s a prayer.  It’s something that, uh, the people want to – to listen.

Nabucco is, of course, is the main role.  And, uh, Verdi put always a lot of big attention on the baritone roles.  The language that you have and you use with the legato is absolutely extraordinary.

Our tradition – and of course, thanks to Giuseppe Verdi – our tradition is really so strong connected with the bel canto, with the – the purity of the melody.

Of course, Nabucco is the main role but you need Abigaille.  And it’s not easy to find a great Abigaille because Abigaille makes a lot of jump, you know? Uh, high note and the octave lower.  And, of course, when you go down you need to have a full space in your – your voice.

Of course, for Fenena, we need a mezzo-soprano and everything is more round, softer, with an orchestra that’s always, uh, painting, uh, her line.  The beauty and the length of the melody are so important.

I think that the conductor has to be like a chef in the cuisine.  We have to try to follow what is indicated on the score.  But it’s absolutely necessary to understand how the orchestra responds, how the choir responds, who are the singers, which is your space that you have?  The pit is different.  Every theater is different.  The acoustic is different.  You have to put all together all these elements, and every time is, uh – is different.

I’ve already conducted 21 Verdi’s opera.  By next June, I will arrive to 22 Verdi’s opera.  It’s really part of my life, Verdi, and, uh – and it will be forever.

READ:  Neubauer / Throw to break

ANGEL BLUE:  We hope that Maestro Callegari will conduct more of Verdi’s operas here at the Met.

The Met’s Live in HD series in made possible thanks to its founding sponsor, the Neubauer Family Foundation.  Digital support is provided by Bloomberg Philanthropies.  The Met Live in HD series is supported by Rolex.  Today’s performance of Nabucco is also being heard live over the Robert K. Johnson Foundation Metropolitan Opera International Radio Network.  We’ll be back after a break.

READ:  PSA / Fundraising / Throw to HD Season Preview

ANGEL BLUE:  Welcome back.  Today’s production of Nabucco is a classic example of larger-than-life grand opera with ancient Babylon recreated on cinema screens.  But as heart-pounding as Verdi’s early masterpiece is in movie theatres, it’s even more powerful here in the opera house.  Nothing compares to the sound of great Verdi voices soring over the orchestra live and in person.  So, please, come to the Met or visit your local opera company.

The Met has gotten a lot of attention recently for the increased numbers of new and recent operas the company has been presenting, but the Met is equally committed to the classics like Nabucco.  This opera house will always be the place to hear the greatest works in the operatic repertoire performed at the highest artistic level, whether new or timeless.

Of course, putting on grand opera production is extremely costly and ticket sales cover only a fraction of the expenses.  The Met relies on opera lovers like you to help make up the difference.  So, if you’re able to make a donation, please visit metopera.org/membership or call us at 1-800-MET-OPERA.  You can also text HDLIVE to 44321 to make a contribution.  Thank you for your support of the Met.

The Met has five more movie theatre presentations coming up this season.  Here’s a preview.

READ:  Throw to tape

ANGEL BLUE:  The Met’s next Live in HD presentation is on January 27^th and it’s one I’m extremely excited about.  A new production of Bizet’s Carmen.  I’m thrilled to be singing the role of Micaëla alongside Kyle Ketelsen as Escamillo, Piotr Beczala as Don José and the young dazzling mezzo-soprano, Aigul Akhmetshina, who is truly amazing in the title role.

Here are a few excerpts of Aigul in action from our final dress rehearsal last week.

INTERVIEW:  Blue w/ Aigul Akhmetshina

ANGEL BLUE:  Aigul Akhmetshina is with me now.  Hi, how are you?

AIGUL AKHMETSHINA:  Hi, Angel.

ANGEL BLUE:  It’s so good to see you.

AIGUL AKHMETSHINA:  Good to see you too.

ANGEL BLUE:  Thank you.  Your portrayal of – of Carmen is creating a new sensation at the Met and you seem like you were born to play this role.  What is it about Carmen that you connect with?

AIGUL AKHMETSHINA:  Well, the Carmen is such an interesting character because she’s so different and all about Carmen is about freedom.  Uh, she loves her freedom, she loves life.  And, uh, I could say I can relate to that.  I – I need freedom to be able to create.

ANGEL BLUE:  Yes.

AIGUL AKHMETSHINA:  And, uh, the reason why people love Carmen so much because I think every human being can relate to her.  And also, the interesting part about her, women hate Carmen, men hate Carmen – they unite in that.  Because Carmen she is – uh, women hate her because they kind of cannot be anything else like – like her, and men cannot control her because she’s so fearless.  She is, uh, just – she lives her own life.

ANGEL BLUE:  Yes.

AIGUL AKHMETSHINA:  Uh, for that reason, yeah.

ANGEL BLUE:  Well speaking of – speaking of freedom and such with vocal techniques, this role seems like it was written for you.  How do you feel that Carmen sits for you?  Do you see that it – that it fits your voice very well?

AIGUL AKHMETSHINA:  Carmen, for me, the way how it’s written, Bizet wrote fantastic music which is, for me, personally, it’s easy to sing.  But the challenge with this specific role is about character.  About living the role every time you go on stage.

ANGEL BLUE:  Uh-huh.

AIGUL AKHMETSHINA:  Because you can rehearse but when you go on stage you have to live.  It’s supposed to have some sense of freedom, air around the acting.  For that reason, the – the reason is why it’s so beautiful and every time is exciting.

ANGEL BLUE:  Yes.

AIGUL AKHMETSHINA:  And for me, personally, it’s quite easy to sing but I always have to challenge myself to focus on the words because it’s like a theatre play.

ANGEL BLUE:  Yes.

AIGUL AKHMETSHINA:  And when Bizet wrote it, he wrote it for a small theatre, for comic opera, and, uh, everything was important – it was words.  To deliver the words.

ANGEL BLUE:  Yes.  Well, you’ve spoken a lot about, in interviews, about growing up in a small village in Russia.  And now here you are starring in a big new production of Carmen at the Met.  Are you surprised at all by this in your journey?

AIGUL AKHMETSHINA:  Of course I’m surprised.  I never expected myself being here on this magic stage because I thought it’s unreachable.  I never thought that, uh, I go from a small village in the middle of nowhere, will end up here.  And, uh, I remember watching these fantastic productions, uh, from, uh, Met HD –

ANGEL BLUE:  Yes.

AIGUL AKHMETSHINA:  — and imagining myself, but I never thought that it actually will happen.  And, of course, thank you to Peter Gelb for this opportunity.  (Laughs)

ANGEL BLUE:  Yes.  Oh, I go – we’re all very excited for you and we’re looking forward to the HD on January the 27^th.  And the premiere last week was – was extraordinary.  So, thank you so much for speaking with me.

AIGUL AKHMETSHINA:  Thank you.

ANGEL BLUE:  Toi, toi, toi for the rest of the run of Carmen.

AIGUL AKHMETSHINA:  Toi, toi, toi to you.  (Laughs)

ANGEL BLUE:  Thank you so much.

INTERVIEW:  Blue w/ SeokJong Baek & Maria Barakova

ANGEL BLUE:  Now let’s get back to the world of Nabucco.  I am very pleased to speak with Russian mezzo-soprano, Maria Barakova, our Fenena today, and tenor SeokJong Baek, who made his Met debut as Ismaele earlier in the fall.  Hello.

SEOKJONG BAEK:  Hello, Angel.

MARIA BARAKOVA:  Hi.

ANGEL BLUE:  It’s so nice to see you.  Thank you for spending this time with me before we get to the wonderful world of Nabucco.  Maria, you’ve been having a great success as Fenena, which calls for beautiful lyrical singing but also great vocal power.  How would you describe Verdi’s vocal writing for your character?

MARIA BARAKOVA:  You know – thank you for the question, first of all.  And, uh, you know, I think that Maestro Verdi tried to express and contrast two destinies, two sisters and two vocal lines, of course, Abigaille and Fenena.  And, uh, we see that Abigaille, for example, she is full of passion, full of power.

ANGEL BLUE:  Yes.

MARIA BARAKOVA:  And, uh, Fenena is full of feelings too but kind of another feelings.  She’s full of love for Ismaele, for example.

ANGEL BLUE:  Yes.

MARIA BARAKOVA:  And full of love for each people in the world.

ANGEL BLUE:  Yes.  That’s beautiful.  And SeokJong.

SEOKJONG BAEK:  Yeah.

ANGEL BLUE:  Congratulations on making your Metropolitan Opera debut with this role.  That’s fantastic.

SEOKJONG BAEK:  Mm hmm.

ANGEL BLUE:  How – have you been enjoying your time here and have you enjoyed playing this role, and have you enjoyed working with the company?

SEOKJONG BAEK:  Absolutely.  This is my Met debut and, uh, for, uh – it is excited and remarkable moment for me because I – I’ve been here long time.

ANGEL BLUE:  Yes.

SEOKJONG BAEK:  I’m based in Manhattan for many, many years and I always dreamed about this theatre and then I’m so happy I finally made it to this stage.  And about Ismaele, uh, it’s a very exciting and fun role for me and very refreshing.  It depends on other roles that I’m doing.

ANGEL BLUE:  Yes.

SEOKJONG BAEK:  But it has definitely great scene with Fenena and Abigaille.  And how lucky to be, as a tenor, like, uh, have a great scene with beautiful – his lover.

ANGEL BLUE:  Yes.

SEOKJONG BAEK:  It’s always exciting.  Yeah.

ANGEL BLUE:  Yes.  The chemistry is very obvious on stage.  You both make a beautiful couple –

MARIA BARAKOVA:  We try to.

ANGEL BLUE:   – and, of course your voices are stunning.  Thank you so much for spending this time with me.

SEOKJONG BAEK:  Thank you.

ANGEL BLUE:  I wish you toi, toi, toi for the rest of the – the rest of the show.

MARIA BARAKOVA:  Thank you.

SEOKJONG BAEK:  Thank you for having us.

MARIA BARAKOVA:  Thank you so much.

ANGEL BLUE:  Thank you so much.

READ:  Throw to Part II

ANGEL BLUE:  At the end of the previous act, Nabucco has been struck down by Abigaille and now she has seized the crown for herself.  But this is a story of biblical plot twists.  Abigaille has not seen the last of Nabucco.  Here is Act III.