Leo Nucci

‘Nabucco’, or ‘Nebuchadnezzar’ (Italian: Nabucco), is an opera by Giuseppe Verdi with a libretto by T. Solera, based on events described in the Bible. (Nabucco is a shortened Italian rendering of the name of King Nebuchadnezzar II). It was this opera, the third in Verdi’s oeuvre, that brought him true fame. It tells of the tribulations of the Jews, their captivity by the Babylonians, and their subsequent release to their homeland by Nebuchadnezzar, King of Babylon. Giuseppe Verdi’s opera ‘Nabucco’, is a monumental work that tells the story of the enslavement of the Hebrew people by the Babylonian king Nebuchadnezzar (Nabucco) and their journey towards redemption. The premiere took place on 9 March 1842 at La Scala in Milan. The first performance of the final version was held at the Teatro San Giacomo in Corfu in September 1844. From the box set of 27 Verdi operas, ‘Tutto Verdi’. Recorded live at the Teatro Regio in Parma, 12–14 October 2009.

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Nabucco the complex story of Nebuchadnezzar the King of Babylon, who proclaims himself God and is hereon afflicted with madness remains a success with audiences. The director Günter Krämer paid particular attention to the interpersonal component of the opera accentuating the conflict-ridden king's loss of power as the core. His Nabucco is the tragedy of a mighty ruler. Leo Nucci, the baritone well known at all the great opera houses of the world, is Nabucco. After experiencing him at the Vienna State Opera, a critic wrote of his "fascinating timbre" and "intense and plausible acting". Maria Guleghina, who performs Abigaille, is one of the most celebrated and acclaimed sopranos of the world. She has been described as "Russian soprano with Verdi flowing through her veins". Supported by a distinguished cast (Marina Domashenko, Miroslav Dvorský, Giacomo Prestia) this Nabucco is a must for opera lovers.

Leonora plans to elope with Don Alvaro, but he accidentally shoots and kills her father, who curses them as he dies. The lovers go on the run, but get separated. Bent on revenge, Leonora's brother Don Carlo, hunts them down. Verdi painted an immense canvas with this dark but tuneful opera, vividly brought to life in John Dexter’s production, with sets by the great Eugene Berman. The legendary Leontyne Price is seen in one of her greatest roles, Leonora. Price’s soaring voice encompasses every nuance of Leonora’s emotion as she moves from joy through resignation to ultimate heartbreak. James Levine’s brilliant leading of the Met orchestra and chorus is a lesson in Verdi style. Giuseppe Giacomini is Alvaro, the man Leonora loves, and Leo Nucci is Don Carlo, the dark instrument of their Fate.

In a Tyrolean village in the first half of the 17th century. Luisa, Miller’s daughter, and Carlo, a young man she met in the village, are deeply in love. When Wurm, a courtier who is also in love with Luisa, asks Miller for his daughter’s hand in marriage, Miller replies that he cannot give his daughter away against her will. Offended, Wurm then reveals Carlo’s true identity: he is Rodolfo, the son of Count Walter. ‘Luisa Miller’ is an opera in three acts, the fourteenth by Giuseppe Verdi, then aged 36. It premiered at the Teatro San Carlo in Naples on 8 December 1849. Taken from the ‘Tutto Verdi’ box set of 27 Verdi operas. Recorded live at the Teatro Regio in Parma on 20 and 22 October 2007.

Jacopo, son of Doge Francesco Foscari, was accused of murder and banished from Venice. Longing for his homeland, he writes to the Duke of Milan asking him to intercede with the city council. The letter is intercepted, and Jacopo is brought back to Venice to face further questioning. An opera in three acts by Giuseppe Verdi, with an Italian libretto by Francesco Maria Piave, based on a historical play by George Byron. Premiered on 3 November 1844. From the box set of 27 Verdi operas, ‘Tutto Verdi’. Recorded live at the Teatro Regio in Parma on 3, 6, 8, 11 and 19 May 2005.

Recorded at Teatro di San Carlo, Naples in 2000 It is a delight to find that the first video recording of such a rarity is so well performed. The production is simple and straightforward, the conducting of the modest orchestra shows a sure touch of the Verdi style. Picture and sound are fine. Above all, the singing delivers full value of the score.

Juan Pons, Barbara Frittoli, Mariana Lipovsek, and Leo Nucci star in this 2008 La Scala production of the Puccini trilogy (Il Tabarro, Suor Angelica, and Gianni Schicchi) conducted by Riccardo Chailly.

This first-rate 1982 production of Verdi’s Falstaff marked the great 20th century Italian maestro Carlo Maria Giulini's return to opera conducting after more than a decade's absence. Renato Bruson leads a brilliant cast as the lovable fat knight Sir John Falstaff, going toe to toe in a series of hijinks with Katia Ricciarelli (Alice Ford) and Brenda Boozer (Meg Page).

Live performance at Opernhaus Zürich in 2006. Nello Santi conducting Orchester der Oper Zürich and Chor der Oper Zürich. Directed for the stage by Gilbert Deflo.

Celebrating a great artist is always a gala occasion, but when the honoree is the legendary Luciano Pavarotti, the event is one to treasure. To pay tribute to the 30th anniversary of Pavarotti’s Met debut, the company featured him in fully staged excerpts of three operas: Act II of Donizetti’s L’Elisir d’Amore, Act III of Puccini’s La Bohème (the opera he sang at his debut), and Act IV of Verdi’s Aida. Joining the superstar tenor were colleagues like Ruth Ann Swenson, Leo Nucci, Daniela Dessì, Maria Guleghina, and Dolora Zajick, all conducted by James Levine.

In the 14th century, Genoa was torn apart by strife between the patricians and the plebeians. The sailor Simon Boccanegra and his lover Maria Fiesco bore the brunt of these internal conflicts: Maria’s father was none other than the city’s doge, the patrician Jacopo Fiesco. When he learnt that Maria had borne Simon a child, he placed his daughter under house arrest. The two lovers had entrusted their daughter to an elderly servant, but she died, and the child mysteriously disappeared. ‘Simon Boccanegra’ is an opera in a prologue and three acts by Giuseppe Verdi, with a libretto by Francesco Maria Piave based on a play by Antonio García Gutiérrez. The first version premiered on 12 March 1857 at La Fenice in Venice. A second version, with a libretto revised by Arrigo Boito, premiered 24 years later, on 24 March 1881, at La Scala in Milan. From the box set of 27 Verdi operas, “Tutto Verdi”. Recorded live at the Teatro Regio in Parma on 23, 25 and 28 March 2010.

Discover Verdi’s magnificent ‘hometown’, the Parma region. From the small village of Le Roncole, near Parma, where Verdi was born, to the estate situated close to Parma, where Verdi always returned and chose to spend most of his life, despite the great triumphs he achieved in Milan, Venice, Naples and other major cities. We discover how Verdi ‘still lives on’ in the region and has even shaped the local landscape, from the daily life of a simple farmer to that of one of the world’s greatest opera stars, Leo Nucci, who is a regular guest at the Verdi Festival in Parma. From the 27-opera box set ‘Tutto Verdi’.

The historic 1984 revival performance of Il viaggio a Reims was the first time in over 150 years the opera was performed. Set in a luxurious hotel in Plombières-les-Bains, the opera follows a diverse group of aristocratic characters as they gather to celebrate the coronation of King Charles X of France. Amidst the festivities, wacky antics ensue, romantic entanglements unfold, and the characters face various comedic and dramatic challenges, showcasing Rossini's masterful blend of music, comedy, and drama.

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Un ballo in maschera (A Masked Ball) is an 1859 opera in three acts by Giuseppe Verdi. The text, by Antonio Somma, was based on Eugène Scribe's libretto for Daniel Auber's 1833 five act opera, Gustave III, ou Le bal masqué. The plot concerns the assassination in 1792 of King Gustav III of Sweden who was shot, as the result of a political conspiracy, while attending a masked ball, dying of his wounds thirteen days later.

I due Foscari was Verdi's sixth opera and based on Lord Byron's play The Two Foscari. Rich in intrigue, the plot tells of the final days of the famous Venetian doge, Francesco Foscari, and his illegal overthrow in 1457.

La traviata (Italian: [la traˈviaːta], "The Fallen Woman"[1][2]) is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La dame aux Camélias (1852), a play adapted from the novel by Alexandre Dumas, fils. The opera was originally entitled Violetta, after the main character. It was first performed on 6 March 1853 at the La Fenice opera house in Venice. Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, "c. 1700". It was not until the 1880s that the composer and librettist's original wishes were carried out and "realistic" productions were staged.[3]

Verdi - Un ballo in maschera / Domingo · Barstow · Quivar · Jo · Nucci · Rydl · Chaignaud · Wiener Phil. · Solti · Schlesinger · Salzburg Festival 1900

Arena di Verona Opera Festival 2019 starts with La Traviata in the new stage design signed by Franco Zeffirelli, the last great Master of Italian direction. The new production takes the form of the ultimate synthesis of his aesthetic thoughts on Traviata.

Claude D'Anna's film of Verdi's Macbeth is a gloomy affair, stressing the descent into madness of the principal villains. It's acted by the singers of the Decca recording of the opera (with two substitutions of actors standing in for singers) and the lip-synching is generally unobtrusive. The musical performance is superb, conducted by Riccardo Chailly with admirable fire, and sung by some of the leading lights of the opera stages of the 1980s. Shirley Verrett virtually owned the role of Lady Macbeth at the time, and she delivers a terrific performance, the voice equal to the role's wide register leaps and it's suffused with emotion, whether urging her husband on to murder or maddened by guilt in the Sleepwalking Scene. Leo Nucci's resonant Macbeth may lack the ultimate in vocal color and steadiness (his last notes of the great aria Pietà, rispetto, amore are wobbly) but he compensates with intensity in both singing and acting.

In Italy, in Mantua and its surroundings, in the 16th century. Although newly in love, the Duke of Mantua extols infidelity. His court jester, Rigoletto, mocks the elderly Monterone, who has come to demand the return of his daughter, whom the Duke has seduced. Monterone casts a curse on Rigoletto. The hitman Sparafucile offers his services to the jester, as a man is lurking around the young woman he is protecting. Rigoletto reflects on his dual role as jester and tormented father, for this young woman—whom the courtiers believe he is hiding a romantic affair with—is in fact his own daughter, Gilda. “Rigoletto” is an Italian opera in three acts and four scenes by Giuseppe Verdi, with a libretto by Francesco Maria Piave, based on Victor Hugo’s 1832 play “Le roi s’amuse.” It premiered on March 11, 1851, at the Teatro La Fenice in Venice. From the “Tutto Verdi” box set of 27 Verdi operas. Recorded live at the Teatro Regio in Parma on October 16, 20, and 22, 2008.

The spectacular production from the 2007 festival at the historic Arena di Verona. Renowned Verdi singers Leo Nucci and Maria Guleghina take on the roles of Nabucco and his daughter Abigail. Daniel Oren conducts Verona's resident orchestra. Filmed in High-Definition.

Part of Tutto Verdi series - Macbeth (2006) Parma. Macbeth is one of the most multi-layered, profound and demanding roles that Verdi ever wrote for a baritone and the Italian singer Leo Nucci is arguably the most distinguished in his field. The role has repeatedly brought him lasting success and he enacts it with an intensity that only the very experienced stage personality can muster. French singer Sylvie Valayre is known for her versatile interpretations of spinto and dramatic coloratura soprano parts, especially for particularly gruelling roles like Lady Macbeth. Supported by Italian bass Enrico Iori as Banco and tenor Roberto Iuliano as Macduff, they make up a wonderful cast under the baton of Bruno Bartoletti, musical director of the Teatro Regio di Parma.