Recommended for Grades 6-12
In this resource, you will:
- Learn the opera’s background and synopsis
- Meet the opera’s composer
Nabucco
by Giuseppe Verdi
Nabucco
by Giuseppe Verdi
A quick overview of Verdi’s 1842 opera named for Babylonian king Nebuchadnezzar II.
Background
Nabucco is an Italian-language opera in four acts composed by Verdi in 1841 to an Italian libretto by Temistocle Solera. The libretto is based on the biblical books of 2 Kings, Jeremiah, Lamentations, and Daniel, and on the 1836 play by Auguste Anicet-Bourgeois and Francis Cornu. Antonio Cortese’s ballet adaptation of the play with its necessary simplifications, which was given at La Scala in 1836, was a more important source for Solera than the play itself. The opera was first performed at La Scala in Milan in 1842.
Nabucco is the opera that is considered to have permanently established Verdi’s reputation as a composer. He commented that “this is the opera with which my artistic career really begins. And though I had many difficulties to fight against, it is certain that Nabucco was born under a lucky star.”
The opera follows the plight of enslaved Jews as they are assaulted, conquered, and subsequently exiled from their homeland by the Babylonian king Nabucco (Nebuchadnezzar II). The historical events are used as background for a romantic and political plot.
The best-known number from the opera is the “Chorus of the Hebrew Slaves” (“Va, pensiero, sull’ali dorate” / “Fly, thought, on golden wings”). This chorus is regularly given an encore in many opera houses when Nabucco is performed today.
Synopsis
Act I
Interior of the Temple of Solomon
The Israelites pray as the Babylonian army advances on their city. The High Priest Zaccaria tells the people not to despair but to trust in God. The presence of a hostage, Fenena, younger daughter of Nabucco, King of Babylon, may yet secure peace. Zaccaria entrusts Fenena to Ismaele, nephew of the King of Jerusalem and a former envoy to Babylon.
Left alone, Fenena and Ismaele recall how they fell in love when Ismaele was held prisoner by the Babylonians, and how Fenena helped him to escape to Israel. Nabucco’s supposed elder daughter, Abigaille, enters the temple with Babylonian soldiers in disguise. She, too, loves Ismaele.
Discovering the lovers, she threatens Ismaele: if he does not give up Fenena, Abigaille will accuse her of treason. If Ismaele returns Abigaille’s love, however, Abigaille will petition Nabucco on the Israelites’ behalf. Ismaele tells Abigaille that he cannot love her and she vows revenge.
Nabucco enters with his warriors. Zaccaria defies him, threatening to kill Fenena if Nabucco attacks the temple. Ismaele intervenes to save Fenena, which removes any impediment from Nabucco destroying the temple. He orders this, while Zaccaria and the Israelites curse Ismaele as a traitor.
Act II
Scene 1: Royal apartments in Babylon
Nabucco has appointed Fenena regent and guardian of the Israelite prisoners, while he continues the battle against the Israelites. Abigaille has discovered a document that proves she is not Nabucco’s real daughter, but the daughter of slaves. She reflects bitterly on Nabucco’s refusal to allow her to play a role in the war with the Israelites and recalls past happiness.
The High Priest of Bel informs Abigaille that Fenena has released the Israelite captives. He plans for Abigaille to become ruler of Babylon, and with this intention has spread the rumour that Nabucco has died in battle. Abigaille determines to seize the throne.
Scene 2: A room in the palace
Zaccaria reads over the Tablets of Law, then goes to summon Fenena. A group of Levites accuse Ismaele of treachery. Zaccaria returns with Fenena and his sister Anna. Anna tells the Levites that Fenena has converted to Judaism and urges them to forgive Ismaele.
Abdallo, a soldier, announces the death of Nabucco and warns of the rebellion instigated by Abigaille. Abigaille enters with the High Priest of Bel and demands the crown from Fenena. Unexpectedly, Nabucco himself enters. Pushing through the crowd, he seizes the crown and declares himself not only king of the Babylonians but also their god. The high priest Zaccaria curses him and warns of divine vengeance. An incensed Nabucco in turn orders the death of the Israelites.
Fenena reveals to him that she has embraced the Jewish religion and will share the Israelites’ fate. Nabucco is furious and repeats his conviction that he is now divine. A crashing thunderbolt strikes Nabucco down, and he promptly loses his senses. The crown falls from his head and is picked up by Abigaille, who pronounces herself ruler of the Babylonians.
Act III
Scene 1: The Hanging Gardens of Babylon
Abigaille is now Queen of Babylon. The High Priest of Bel presents her with the death warrant for the Israelites as well as for Fenena. Nabucco, still insane, tries to reclaim the throne without success. Though his consent to the death warrant is no longer necessary, Abigaille tricks him into signing it.
When Nabucco learns that he has consigned his (true) daughter to death, he is overcome with grief and anger. He tells Abigaille that he is not in fact her father and searches for the document evidencing her true origins as a slave. Abigaille mocks him, produces the document, and tears it up. Realizing his powerlessness, Nabucco pleads for Fenena’s life. Abigaille is unmoved and orders Nabucco to leave her.
Scene 2: The banks of the River Euphrates
The Israelites long for their homeland. The high priest Zaccaria once again exhorts them to have faith: God will destroy Babylon. The Israelites are inspired by his words.
Act IV
Scene 1: Royal apartments in Babylon
Nabucco awakens, still confused and raving. He sees Fenena in chains being taken to her death. In despair, he prays to the God of the Hebrews. He asks for forgiveness and promises to rebuild the temple in Jerusalem and convert to Judaism if his prayers are answered. Miraculously, his strength and reason are immediately restored. Abdallo and loyal soldiers enter to release him. Nabucco resolves to rescue Fenena and the Israelites as well as to punish the traitors.
Scene 2: The Hanging Gardens of Babylon
Fenena and the Israelite prisoners are led in to be sacrificed. Fenena serenely prepares for death. Nabucco rushes in with Abdallo and other soldiers. He declares that he will rebuild the Temple of Jerusalem and worship the God of the Israelites, ordering the destruction of the idol of Bel.
At his word, the idol falls to the ground of its own accord and shatters into pieces. Nabucco tells the Israelites that they are now free and all join in praise of Jehovah. Abigaille enters, supported by soldiers. She has poisoned herself. She begs forgiveness of Fenena, prays for God’s mercy, and dies. Zaccaria proclaims Nabucco the servant of God and king of kings.
Meet the Artists
Read the Cuesheet
Watch an Excerpt
Verdi’s Nabucco - “Va Pensiero” - Metropolitan Opera 2002
Related Resources
Media I Vespri Siciliani
A quick overview of Verdi鈥檚 1855 contribution to the French grand opera tradition.
Media Il Trovatore
A quick overview of Verdi鈥檚 1853 sprawling melodrama.
![Luigi Morgari (1857鈥1935), Il Trovatore poster, 19th century. Color lithograph. [Source]](/globalassets/education/resources-for-educators/classroom-resources/artsedge/media/understanding-opera/il-trovatore-169.jpg?format=webp&width=768&quality=70)
Media Rigoletto
A quick overview of Verdi鈥檚 1851 operatic masterpiece.
Media Macbeth
A quick overview of Verdi鈥檚 1847 opera of Shakespeare鈥檚 Scottish play.
Media 础茂诲补
A quick overview of Verdi鈥檚 1871 historical drama.
![1908 poster for Verdi's Aida, performed by the Hippodrome Opera Company of Cleveland, Ohio [Source]](/globalassets/education/resources-for-educators/classroom-resources/artsedge/media/understanding-opera/aida-2-169.jpg?format=webp&width=768&quality=70)
Media Opera's Early Romantic Era: 1800-1865
Journey through the first half of opera鈥檚 third historic 鈥減hase鈥: the Romantic period. Learn about the cultural, economic, and political upheaval that inspired opera鈥檚 emotional U-turn, and get to know some familiar works in the canon.
Media Opera's Late Romantic Era: 1865-1920
Uncover the driving forces behind opera鈥檚 fiercest era, including Europe鈥檚 semi-unhealthy obsession with death, desire, and nationalist identity鈥攁ll of which sparked a wild streak of artistic innovation and some truly iconic music for the stage.
Media Viva La Diva!
A beginner鈥檚 guide to some of opera鈥檚 most challenging female roles and a unique look at how opera does girl power.
Media Understanding Different Voice Types
A soprano is a soprano because they can sing high and a bass is a bass because they sing low, right? Not really...
Kennedy Center Education Digital Learning
Eric Friedman
Director, Digital Learning
Kenny Neal
Manager, Digital Education Resources
Tiffany A. Bryant
Manager, Operations and Audience Engagement
JoDee Scissors
Content Specialist, Digital Learning
Connect with us!
Generous support for educational programs at the Kennedy Center is provided by the U.S. Department of Education. The content of these programs may have been developed under a grant from the U.S. Department of Education but does not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the federal government.
Gifts and grants to educational programs at the Kennedy Center are provided by A. James & Alice B. Clark Foundation; Annenberg Foundation; the Andrew W. Mellon Foundation; Bank of America; Bender Foundation, Inc.; Capital One; Carter and Melissa Cafritz Trust; Carnegie Corporation of New York; DC Commission on the Arts and Humanities; Estée Lauder; Exelon; Flocabulary; Harman Family Foundation; The Hearst Foundations; the Herb Alpert Foundation; the Howard and Geraldine Polinger Family Foundation; William R. Kenan, Jr. Charitable Trust; the Kimsey Endowment; The King-White Family Foundation and Dr. J. Douglas White; Laird Norton Family Foundation; Little Kids Rock; Lois and Richard England Family Foundation; Dr. Gary Mather and Ms. Christina Co Mather; Dr. Gerald and Paula McNichols Foundation; The Morningstar Foundation;
The Morris and Gwendolyn Cafritz Foundation; Music Theatre International; Myra and Leura Younker Endowment Fund; the National Endowment for the Arts; Newman’s Own Foundation; Nordstrom; Park Foundation, Inc.; Paul M. Angell Family Foundation; The Irene Pollin Audience Development and Community Engagement Initiatives; Prince Charitable Trusts; Soundtrap; The Harold and Mimi Steinberg Charitable Trust; Rosemary Kennedy Education Fund; The Embassy of the United Arab Emirates; UnitedHealth Group; The Victory Foundation; The Volgenau Foundation; Volkswagen Group of America; Dennis & Phyllis Washington; and Wells Fargo. Additional support is provided by the National Committee for the Performing Arts.
Social perspectives and language used to describe diverse cultures, identities, experiences, and historical context or significance may have changed since this resource was produced. Kennedy Center Education is committed to reviewing and updating our content to address these changes. If you have specific feedback, recommendations, or concerns, please contact us at [email protected].