MADRID, July 22 (EUROPA PRESS) –
The opera ‘nabucco’ says goodbye to the Royal Theater this Friday, July 22nd in an evening that could become historic for the Madrid Colosseum, for lack of that last show scored encores for ‘Va Pensiero’ in the remaining 14 performancesas sources at the institution have confirmed to Europa Press.
Giuseppe Verdi’s play returned to Real Madrid on July 5, 150 years later, and in a big way. with the first encore for the famous chorus of ‘Va pensiero’ after booting for more than five minutes of applause from the audience of the Madrid Coliseum and some “Long live Verdi!” from the seating area.
The Main Choir of the Teatro Real (Intermezzo Choir), founded in 2010 and prepared as always by its director Andrés Máspero, sang for 14 performances the famous chorus of the slaves who give voice to the oppressed, under the musical direction of Nicola Luisotti, who conducts his seventh Verdi title at the head of the chorus and orchestra of the Teatro Real.
Achieving this bis in all functions is not an easy task as, as sources in the institution comment, Maestro Nicola Luisotti does not agree to repeat the piece before the applause has stunned the audience for at least four minutes.
The extras for him ‘I find’ are produced in the third act of the opera, and the premiere became the chorus’ first performance since the Teatro Real reopened in 1997. Leo Nucci was previously there ‘Rigoletto’ In 2009 he began a tradition that has provided encores for singers such as Javier Camarena, Lisette Oropesa and Sondra Radvanovsky over the past decade.
in the ‘Nabukko’ the chorus has an original role, and specifically in ‘Va pensiero’ the oppressed are given a voice with the famous chorus of slaves. In the first performance, the encore left a lot to be desired – people even stamped their feet on the floor to reinforce the request, shouting “bis, bis” – but by the end of the second chorus of slaves several “thanks” . You’ from the spectators.
“Nabucco” made Giuseppe Verdi an unlikely national hero thanks to the history of the oppressed Jewish people against the powerful Babylonian Empire which they appropriated in Italy.
A priori, this libretto of a historical event was one more text that Verdi even rejected at first – for which the composer, who was far from the fame he had achieved after this premiere, did not want to continue composing after a severe depression death of his wife – but the context of the moment has practically elevated it to a popular revolution.
The fact that on the day of the premiere someone from the audience shouted “Freedom for Italy” was decisive for the nationalistic impulse of this work. And Verdi established himself as a composer of the Risorgimento and achieved a success not seen since Rossini’s time.