REVIEW: “Nabucco” showcases talent top to bottom

The ambitious “Nabucco” was the dark horse of the UFOC lineup, but ended up being its brightest star. “Nabucco” fills the stage, a production where every corner has a couple of spear carriers and ensemble numbers fill the hall.

Immediately evident was the strength of the orchestra, which was more driving and buoyant than in “Butterfly,” for example. An extended prelude from conductor Karen Keltner was top-drawer and immediately primed the audience for an upper-level experience.

“Nabucco,” by Verdi (“Nebuchadnezzar”) rehearses the plight of Hebrews who are about to overtaken by the Assyrians, lead by their King Nabucco (Michael Corvino) and his daughter Abigaille (Marie-Adele McArthur). Zaccaria, the High Priest of the Hebrews, has Nabucco’s younger daughter Fenena (Lisa van der Ploeg) as hostage in the temple. She has fallen in love with the High Priest’s nephew Ismaele (Nicholas Coppolo) and Zaccaria suggests she might be valuable in securing peace with the Babylonians.

Cutting the history lesson short, the Hebrews are overtaken; elder daughter Abigaille seethes with hatred toward her sister; Abigaille takes her father’s crown; Nabucco has a mental breakdown and is cast into prison; and, oh, yeah, there are some twists at the end.

“Nabucco” is a busy production, with four acts and numerous scene changes, many accomplished with the use of light and translucent screens. With scores of characters on stage and much movement involved, it went off without a hitch and all ensemble numbers were particularly strong.

But “strong” only scratches the surface of the performance of McArthur in her thrilling presentation of Abigaille. She was never out of character. Her voice was tremendous and well-trained. At the side of the stage, while attention was cast to her sister or father, McArthur could be seen seething and plotting. In a heartfelt number with changing dynamics and varied emphasis, McArthur wins the audience’s heart and keeps each one firmly in her hand when, late in Act One during a solo, she also declares a love for Ismaele and ponders liberation for the Hebrews.

Even in ensemble numbers, van der Ploeg and McArthur can be heard above the din and eyes and ears are always on Abigaille when she is on stage.

Corvino also never falters in his highly-costumed Nabucco. As High Priest, Kenneth Shaw’s voice is stong and smooth as grape wine with his deep bass presentation.

Though not often produced, Verdi’s “Nabucco” — at least the UFOC version — is what large-scale professional opera hopes to become.