ARTISTS
Juan Pons - Nabucco
Maria Guleghina - Abigaille
Wendy White - Fenena
Gwyn Hughes Jones - Ismaele
Samuel Ramey - Zaccaria
& supporting cast
The Metropolitan Opera Orchestra and Chorus
James Levine

Production: Elijah Moshinsky
Set Design: John Napier
Costume Design: Andreane Neofitou
Lighting Design: Howard Harrison
Video Director: Brian Large

Verdi called his third opera Nabucco , and made the title-role of the Assyrian king the first in a long line of baritone fathers, but when it comes to casting the piece, the real focus of attention is the role of the king's adopted daughter Abigaille. Just like Nabucco, her type, an ambitious woman driven to unscrupulous means to achieve what she most desires, seemed to have had a special fascination for Verdi, but the splenetic Abigaille is a special case: this is a part written for a soprano able to express her rage and frustration at the very limit of what is technically possible, and singers who can conquer the role become the stuff of history, able to make or break any production. It is significant that after a single run of the opera in 1960 the Met fought shy of staging Nabucco again, until the appearance of the Russian soprano Maria Guleghina on the international scene made this production, given in the centenary year of Verdi's death, a possibility. Guleghina has made this fearsome role one of her calling-cards in opera houses from Milan to Los Angeles, and it was the part she chose for her début at that most gladiatorial of operatic locations, the Verona Arena in 1996.

The production by Met regular Elijah Moshinsky, takes the Biblical story at face value, and we know from Verdi's own, somewhat rose-tinted recollection, that it was the Biblical resonances of the words of what became the Chorus of the Hebrew Slaves that moved him to write the piece. In John Napier's set, the Hebrews and the Assyrians are placed on either side of a huge revolve, and the contrast between dark and light, Babylonian bronze and Hebrew rock, is never more striking than when the grandiose Temple of Baal - a steep flight of steps crowned by the metallic figure of the god - swings round to reveal the pale stones where the Hebrews are sitting for "Va, pensiero" (here allowed an encore, a historic event at the Met). The opera calls for some spectacular effects, not least the destruction of the temple of Solomon, a disturbing and resonant image as depicted here, with flames apparently destroying the set, but Moshinsky is adamant that one cannot "read modern Jewish history, particularly the Holocaust, into Nabucco ".

It is the sheer power of melody that drives this opera and brings the drama and its characters to life: Verdi's inspiration makes Abigaille's short-lived moment of introspection, the poised "Anch'io dischiuso un giorno", and her uncontained glee at her victory over Nabucco convincing. James Levine, conducting, generally chooses speeds on the slow side for the reflective moments, and maintains a true Largo for "Va, pensiero", sung with rhythmic precision by the Met chorus, but as the critic of The New York Times wrote, he "makes no attempt to inflate the music. Everything is natural, songful, crisp and sonorous". The Met cast two familiar Verdi specialists as Nabucco and Zaccaria: Juan Pons, who made his début as the composer's very last baritone protagonist, Sir John Falstaff, here sings the first of the line, while Met favourite Samuel Ramey gives a performance much praised for its "dignity" of his acting, and the "sonorous tones" of this singing.

While Napier's set can create a tableau-like impression (effective when Abigaille can physically tower over the befuddled Nabucco), the filming by Brian Large brings the viewer in closer, repeatedly catching the character's responses, and crucially focusing in on the final appearance of Abigaille, at the top of the structure, behind the massed ranks of soloists and chorus, for her brief scene of repentance and death.

Click here to watch the television promo for the New Year's Concert CD & DVD:

http://meta.streamout.com.au/uni00025/Jan05/NY30.mpg

Weblink: www.deutschegrammophon.com/newyearsconcert2005

ARTISTS
Wiener Philharmoniker
Lorin Maazel

TRACKLISTING
JOHANN STRAUSS II: Indigo-Marsch · Haute-Volée-Polka
JOSEF STRAUSS: Lustschwärmer · Winterlust · Die Emancipirte
JOHANN STRAUSS II: Tausend Und Eine Nacht · Die Bajadere
FRANZ VON SUPPÉ: "Die Schöne Galathée", Ouvertüre
JOHANN STRAUSS II: Klipp-Klapp · Nordseebilder · Bauern-Polka · Fata Morgana · Vergnügungszug
JOSEPH HELLMESBERGER JUN.: Auf Wiener Art
JOHANN STRAUSS II: Russische Marsch-Fantasie · Ein Herz, Ein Sinn
JOHANN STRAUSS II / JOSEF STRAUSS: Pizzicato-Polka
JOHANN STRAUSS II: Geschichten Aus Dem Wienerwald
EDUARD STRAUSS: Electrisch
JOHANN STRAUSS II: Auf Der Jagd · An Der Schönen, Blauen Donau

Broadcast on TV and radio in over 40 countries around the world, the New Year's Concert is undoubtedly one of the biggest classical music events in the world. Now, thanks to DVD, you can enjoy this wonderful spectacle whenever you wish. Relive the wonderful melodies and delightful atmosphere as Vienna celebrates the ringing in of another year as only they can! The concert includes not only favourite orchestral items from the Strauss family played by one of the world's greatest orchestras, but also winningly beautiful ballet performances, too.

For 2005 the Wiener Philharmoniker invited Lorin Maazel to be their conductor, and Maestro Maazel had more than one reason to celebrate: on 6 March he celebrates his 75th birthday, and this concert was also a silver jubilee for him, for it's is 25 years since he was first invited to direct the orchestra at this event.

Thanks to the varied output of the many members of the Strauss family and associates, there were again no fewer than five pieces that received their New Year's Concert premières: Indigo-March and Haute volée-Polka by Johann Strauss, a waltz called Lustschwärmer and the quick Polka Winterlust by Joseph Strauss, as well as the Polka francaise Auf Wiener Art by Joseph Hellmesberger, jr.

For the ballet scenes, Vladimir Malakov, director of the Berlin State Opera Ballet, brought along his beautiful young soloist Polina Semionova - gold medal winner of two Moscow Ballet Competitions and the "rising star" of the classical ballet world. It was the first time she had performed in Austria. Vladimir Malakov was not only the choreographer but also joined Polina for Ein Herz, ein Sinn as her partner. Another highlight for the DVD was be the participation of the Italian soloist Giuseppe Picone.

MARKETING PLANS
TELEVISION
Advertised on SBS TV through February

PRESS
Advertised in Limelight and Filmink magazines