Nabucco
Royal Opera House, London Jusqu’au 23 January
Rating: 
After the auspicious debut in Tosca of Tunbridge Wells’s Freddie De Tommaso, an English singer getting his due at the Royal Opera, it was business as usual with this Nabucco.
It was an unmerited revival by Daniele Abbado of a poor production. There were so many Russian- and Slavonic vocalists that it is almost like a blind test.
Abbado’s modernish dress take appears to have something to do with a post-holocaust world, but lacks clarity and makes little sense.
The singers are led by Liudmyla Monastyrska (above, right, with Vasilisa Berzhanskaya and Najmiddin Mavlyanov) as Abigaille, Nabucco’s renegade daughter
Daniel Oren is a veteran Israeli conductor and makes another unmerited visit to Covent Garden.
His usual rough-and ready performance is what he does, and it may work better in Nabucco, than anywhere else, since this Verdi piece itself is rough-and prepared.
The singers are led by Liudmyla Monastyrska as Abigaille, Nabucco’s renegade daughter.
Many great things had been predicted for her during the Noughties. Most of these haven’t happened. But it’s still a big and striking voice, even if now a bit frayed at the edges.
Also of interest was Alexander Vinogradov’s High Priest. Always welcome is a singer capable of singing all these notes in the low-lying section.
As for the rest, it’s hard to know why it was felt necessary to import them, except for a prejudice against British or British-based singers.
It’s actually disgraceful that only one small part here is assigned to a British singer. Covent Garden’s casting process needs some serious reform.
A chorus was hidden and performances cancelled. An unjustifiable decision, for which Covent Garden may expect Government compensation, but doesn’t deserve it.
Anna Netrebko has been invited to join the cast of January performances. But I wouldn’t bet the ranch on it.