19/02/2026
The opera "Nabucco" by GIUSEPPE VERDI with the choir and orchestra of the Deutsche Oper in Berlin under the direction of GIUSEPPE SINOPOLI was digitally recorded on the DGG label in 1983. Recordings by GIUSEPPE SINOPOLI are relatively rare. Of course, as always, the sound quality depends on the listener's personal taste, but I can fully agree with the following review by Alan Blyth:
"In his short but mercurial career in the opera house, on the concert platform and in the recording studios, Sinopoli has already divided opinion quite sharply. There are those who are thrilled by his energy and analytical approach to the work in his hand, others who finds his bar-to-bar approach lacking in equilibrium, the price to be paid for the tension and excitement undoubtedly engendered. That he is a conductor with definite views on his so-far restricted repertory is confirmed by this Nabucco, where from the Overture onwards the rudimentary drama is played for all its worth, sometimes a good deal more. The recurring banda music is almost brutal, the rum-ti-tum of early Verdi as in such passages as Zaccaria's first-act cabaletta eagerly accented. Such detailed treatment can be illuminating as in the chromatic counterpoint to the chorus ''Lo vedeste'' in Act I and in the strict observance of the sotto voce and cupo markings in the concertato ''S'appressan gl' instani''; they make us aware of Sinopoli's arresting sense of theatre. But frequently he mistakes vitality for dramatic movement.
Muti was criticized for self-conciousness and over-emphasis in his conducting of the HMV set, also for his extremes of tempo. Sinopoli carries the process further, giving us the frisson of the moment rather than a convincing view of the score as a whole. Verdi asked for his tempos to 'move', but that does not mean they should become hectic. That verve and inner tension can be achieved through a more sober method is conclusively proved by Gardelli on Decca, that experienced Verdian, who realizes that a work already so heavily scored does not need to have its speeds and dynamics further underlined by too much agitato, too blantant acenting of forte chords.
At the other extreme, slow speeds on the new set become stodgy. Abigaille's aria is an Adagio rather than an Andante, and at that pace Ghena Dimitrova just fails to maintain her legato. The Bulgarian soprano made a great impression in the recent concert performance of La gioconda at London's Barbican Hall. Under the cruel search of the microphone one still admires the historic impetus of her singing while noticing that her Italian is not quite idiomatic enough for her to make us live the emotions anew as Scotto succeeded in doing for Muti. Of course, Dimitrova has the more natural voice for this testing part and, apart from some hardening under pressure not out of character of the wicked usurper, she fulfils its vocal requirements unstintingly, the cabaletta fierily declaimed, and her later disdain of her father is evenly and truly sung. But she lacks Scotto's pathos in the subtly-written death scene and, I think, Souliotis in the still highly-competitive Decca set exults with more meaning and just as much command.
Cappuciilli's Nabucco is voiced and interpreted with all years of experience in singing a long-breathed line. He exerts a wild authority when he declares himself to be God, sings with deep eloquence in the ''O di qual'onte aggravasi'' section of his duet with Abigaille, and pathos in ''Dio di Giuda''. Against that must be set a return, in several instances, to his old habit of imperfect pitching, and in more than one place there's a suggestion that his tone is becoming rusty. Manuguerra (HMV) is warmer and more accurate, almost as involved; Gobbi (Decca) remains superior to both in command and characterization, in catching the king's agony in heartrending accents—but he does cut a few important passages.
Nesterenko is, for the most part, an imposing Zaccaria, a little in the Christoff vein, but Ghiaurov (HMV) offers more grave authority in both Prayer and Prophesy, Cava (Decca), though possessing a less sonorous voice than either rival, has peered deeper into the character. None can quite equal that ideal sound, Pinza's, that one wants in this grateful music.
Perhaps the most beautiful singing on the whole DG set comes from Valentini-Terrani whose last-act Preghiera is sung with an understanding of its simple tenderness, far in advance of anything achieved by either of her rivals. Domingo is classy casting for the minor part of Ismaele and he takes his few chances to show what can be done with little. I had the impression, because of the extra reverberation on his voice, that his contributions had been made at a different time from those of the rest of the cast. Which brings me to the sound. It follows that of most recent DG Verdi recordings in being more immediate and forward than the acoustic favoured by other companies. It doesn't flatter some honourable but not exceptional playing by the Berlin Opera Orchestra. The singing of the company's chorus is full-bodied in ''Va pensiero'', not necessarily superior to that of its rivals on the other sets. The small parts are no more than adequately filled by distinctly Germanic voices.
As a whole I enjoyed hearing this performance for the immense vigour displayed on all sides, rather less for its lack of subtlety, nor admittedly a leading characteristic of this opera, but to be found in greater degree in the other performances Because of its more even cast and for Gardelli's unobtrusively sane and coherent conducting, and still the best sound, I would stay faithful to decca."
(Alan Blyth, grammophone.co.uk)
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