
Christiane Jatahy, Brazilian director, filmmaker and writer, who in 2022 was awarded the Golden Lion at the Venice Biennale in recognition of her work in the field of theatre, gives Giuseppe Verdi's work a new body in this production of Nabucco.

In the famous biblical story that tells of the destruction of Jerusalem and the exile of the Jews, the director also brings into her staging the voice of all those who still suffer oppression today, in every part of the world. Loss and identity, exile and power, displaced or decimated populations, forced migrations within a community are themes that Christiane Jatahy has always told. For the director this is her first time in Europe.
On stage we will meet the maestro Antonino Fogliani, back in Geneva after his sublime Turandot of last season. Taking part in the Verdi adventure will be the musicians of the Orchestre de la Suisse Romande, the Chorus of the Grand Théâtre and extraordinary performers of “bel canto”: in the role of Nabucco Nicola Alaimo, who recently shone in Falstaff at the Maggio Musicale Fiorentino, the bass Riccardo Zanellato (in the role of Zaccaria), who will carry on this summer in Damiano Michieletto's Rigoletto at the Baths of Caracalla in Rome, and the new opera star Saioa Hernández in the role of Abigaille, whom we find again in Geneva after her splendid performance in Guillaume Tell in 2015.


This early opera by Verdi has often been read as a call to the struggle for liberation and to national unity, which would finally lead to Italian unification. But this more or less divine mission rests just as much on the idea of hardship. For while Nabucco naturally represents the exile of the Jewish people held captive in Babylon with its famous chorus “Va, pensiero”, the opera at the same time tells of a particular feature of rabbinical thought: the presence of the divine as a manifestation also of its absence. The destruction of the city of Jerusalem and of its temple are moments in which the omnipotence of the divine in the world is absent. The bliss of the abyss and the hardships to be faced in order to obtain salvation, as far as possible, count just as much.
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