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4 of 4 people found the following review helpful
on 14 July 2013
The highlight of this recording, and the main reason to buy it, in my opinion, is the Berlin Opera Orchestra and chorus under the late, great Giuseppe Sinopoli. They are magnificent, offering power, subtlety and pace.

The points against this recording here are:

Cappuccilli, as Nabucco, is not as imposing as Manuguerra on EMI, and certainly not the actor that Gobbi is on Decca. Yes, Gobbi resorts to falsetto in "Chi mi toglie il regio scettro" but it makes wonderful theatre and is far preferable to Cappuccilli's trapped sound, which he continually uses to try and feign control and subtlety.

Abigaille is the most testing of soprano roles (perhaps THE most testing) but steer clear of Dimitrova here, and Scotto on EMI, who will make you wince at their forced upper register. Elena Suliotis on Decca is the definitive Abigaille - power, control and a terrific presence.

Nesterenko, as Zaccaria, is better than the out-of-sorts Ghiaurov on EMI, and Domingo a more romantic Ismaele than Prevedi, but all things considered, if you want one recording of this magnificent Verdi masterpiece it has to be Gobbi and Suliotis on Decca.
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1 of 1 people found the following review helpful
on 4 August 2014
Sinopoli's "Nabucco" has the bad luck to have been preceded by two great accounts -- Gardelli's, with Gobbi and Souliotis from 1965, and Muti's with Manuguerra and Scotto from 1978. Both conductors are in touch with the crude energy of this early opera, written when Verdi was only 27, and if Sinopoli has a fault it might be that his reading lacks that energy and goes for full and beautiful sound. Also beautiful is Cappuccilli's Nabucco. Just as pure singing, it is the best on record -- lovely rounded tone, superb breath control and, subsequently, long elegant phrases. What it lacks is some of the dramatic verve that Gobbi and Manuguerra command, but ideally Verdi lovers will want this account too. When you're in a certain mood, there's no greater pleasure than hearing Cappuccilli spin long phrases.

The rest of the cast is very solid -- Dimitrova can't quite match the security of Souliotis (in her single great recording) or the Callas-like commitment of Scotto in her superb account of Abigaille, but Domingo as Ismaele and Nesterenko as Zachariah are excellent, as is Valentini-Terrani's Fenena. Warm digital sound, good choral work -- if not quite as expressive as Muti's chorus, who give us the best "Va pensiero" on record. In Act 3, one of the greatest acts that Verdi ever wrote, the drama is effectively conveyed -- but in either of the other two accounts, the temperature is notably warmer and the tension tighter. Still . . . well worth acquiring . . . it's one of my very favorite Verdi operas, and I'll take as many good accounts as I can get!
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10 of 13 people found the following review helpful
on 1 March 2009
I am afraid I cannot wholly agree with either of the previous reviewers. I accept A Customer's point that Shannon O'Hara has committed a glaring error in her dating of this recording (1960s rather than the actual date of 1986), but neither can I concur that Ms O'Hara's comments are a "drooling non-review".

Given that it effectively launched Verdi's career in 1843, this work seems ill served in the recording studio. Alongside this recording there is an older version by Lamberto Gardelli and the Vienna State Opera Orchestra & Chorus with Gobbi in the title role and a 2004 recording that I have yet to audition.

Abigaille is a difficult role at the best of times. Since Giuseppina Strepponi (later to become the second Mrs. Verdi) premiered the role, there has been no definitive Abigaille. Dimitrova, who fulfils the role in this recording is workmanlike but hardly virtuoso, in contrast to Cappucilli's inspired Nabucco and the usual impeccable readings from Ghiaurov and Domingo.

Although this was recorded during Sinopoli's principal conductorship (1984-1994) of the Philharmonia, this recording is with the Chorus and Orchestra of Deutschen Oper Berlin (then in Communist hands since it was three years before the Berlin Wall fell). I understand that Sinopoli himself was considered as a successor to Sir Colin Davis at Covent Garden before Haitink captured that particular gem of an appointment. This is one of the several fine opera recordings Sinopoli gave us during the 1980s. It comfortably stands comparison with any other recording I have heard of a work that hugely influenced its composer's career and, through Strepponi, his personal life after the tragic two years that saw the deaths of both his children quickly followed by that of his first wife.

Sinopoli occasionally resorted to controversial tempi, but not here, he takes them straight down the line. "Boooooriiiing" might come the cry, but when was Verdi ever boring? Give me properly judged tempi any time. Sinopoli really gets his teeth into this reading, nor is there any lack of commitment amongst his soloists. Cappuccilli was all but incapable of giving a poor performance, and he is ably supported by Dimitrova, Ghiaurov and Domingo - by 1986 already one of the world's great tenors.

Altogether a very satisfying recording.
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on 31 January 2014
A bracing rendition of nabucco. The rendition of gobbi was arresting but uneven. Subs sequ. eentrycappuccilli has been the outstanding Italian baritone, memorable especially in Verdi, Domingo surpasses prevedi and nestorenko is magisterial
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on 28 February 2015
good but ealy callas better but enjoyable
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0 of 1 people found the following review helpful
on 3 November 2012
A thoroughly enjoyable recording. Sinopoli is a conductor i really admire in Wagner and Richard Strauss. When it gets to early Verdi I've yet to be convinced.
My main problem with this recording is Domingo. When he's singing the acoustics sound different. Was he there at the same time as everyone else?
That aside this is a good recording
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0 of 3 people found the following review helpful
on 23 November 2011
Second buy of the same album. I enjoied so much my original copy that I bought a second one to offer to a close friend as a gift for his birthday.
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9 of 33 people found the following review helpful
on 26 December 2003
Without further comment on this bizarre and unsatisfying recording, it seems odd to me that the reviewer above makes such a point of its 1960's origins, when in fact it is clearly labeled as being released in 1983. Further, Dimitrova did not make her debut until 1966, and did not perform in any important venues outside Bulgaria until 1970. A bit more attention to fact would make this sort of drooling non-review a bit easier to take seriously.
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0 of 5 people found the following review helpful
on 3 March 2013
Excellent CD but I need to learn to read description of items as I expected a DVD of the opera, also the notes to follow the CD/Opera are all in German so useless to me

Read description better!!!!!
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6 of 29 people found the following review helpful
on 13 February 2002
Although this is a 60's recording, it has Domingo when he was coming to the height of his powers.
The orchestra is strong and well-balanced with the voices.
The ensembles are beautifully done with all the voices working and fighting together, with generosity from all the soloists.
As I write I am listening to the end of the second side of my scratchy vinyl...beautifully balanced forces.
Sinopoli manages to balance all of the considerable forces at his command brilliantly.
The production team deserve some kind of serious credit...though in those days (the '60's)...they were little thought of.
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