Fine music-making redeems dull production in COC’s season opening Nabucco

The Canadian Opera Company performed Verdi’s Nabucco for the first time in the company’s history at the Four Seasons Centre on 4th October. Musically it was excellent. The dated, dull production added little but at least it didn’t get in the way of enjoying the music. 

The production originated in Chicago last century and there is not an idea to be seen. Monumental sets and rather weird costumes, presumably intended to be “spectacular”, it felt like a throwback to an era when directors were scarcely regarded as necessary. There are monumental columns and a gigantic staircase, the Assyrians dressed in scarlet with the soldiers in strange headgear evoking The Handmaid’s Tale. The Act 4 Israelites appear to be the inmates of a 19th-century lunatic asylum. Only the rather spectacular “smiting” of Nabucco provides any excitement. That said, Katherine Carter moves her cast and chorus and a largish group of extras around efficiently and gets them into positions where they coan project without acoustical problems.

The fine music making began with the overture where conductor Paolo Carignani conjured real drama from the excellent COC Orchestra that would continue throughout. British baritone Roland Wood was in fine voice as the title character with some quite affecting acting too, “Oh di qual onta aggravasi” delivered with a good deal of pathos. As Abigaille, Mary Elizabeth Williams sang with considerable power, accuracy and proper Verdian style. Her high notes were clean and clear and rang around the house.

Perhaps the most impressive performance of the night came from bass Simon Lim as Zaccaria. From the outset he rather dominated the scene vocally and sang with real authority. The two lovers were played by returning members of the Ensemble Studio. Matthew Cairns, as Ismaele, brought a commanding physical presence and a tenor voice that has both beauty and power. Rihab Chaieb, making a long overdue return to Toronto, was an extremely sympathetic Fenena and she produced a ravishing “O dischiuso è il firmamento” in the final act. Chemistry between the two lovers was convincing too. Bass Duncan Stenhouse, a new recruit to the Ensemble Studio and making his company debut as the High Priest of Baal, was also most impressive. The cast was rounded out by current Ensemble Studio member Wesley Harrison who made the most of his cameo as Abdallo. Another returnee, Charlotte Siegel, was solid as Anna.

Nabucco is often, and rightly, described as a “chorus opera” which makes it all the odder that it’s taken this long for it to appear in a house where the chorus is so fine. The Canadian Opera Company Chorus did not disappoint. They opened strongly with a heartfelt “Gli arredi festivi” and the fine singing carried through all the way to Act 4 with a lovely rendering of perhaps Verdi’s most famous chorus, “Va, pensiero, sull'ali dorate”. 

All in all it was a good night at the opera and a strong start musically to the COC’s season. The orchestra and chorus were in fine form and a cast with a remarkably large number of past and current Ensemble Studio members produced music that transcended the uninspiring stage action.