Please contact mpub-help umich. For more information, read Michigan Publishing's access and usage policy. The article examines the ways in which the Italian political and national mythology attached to this work was simultaneously implemented and displaced in order to allow an Israeli nationalist interpretation of the opera. The significance of Masada to Israeli collective memory and national identity, and the way in which this interacted with the mythology surrounding Nabucco , are also explored. The site-specific production was not only significant in technical and organizational terms; it was an immensely powerful event that combined opera, national mythology, collective memory, and political circumstances to make a compelling political statement. It transformed a work that has long been understood as symbolic of Italian national pride into an operatic event infused with Israeli nationalism. Yet at the same time, this success was achieved through what we might call a de-metaphorization of the work in which the layer of Italian political mythology was displaced by a Jewish Israeli myth, one that was equally fictitious but nevertheless responded to the original plot on a less metaphorical level. While relying on the history of Nabucco as a metaphor for Italian patriotism, the Israeli Opera was able to simultaneously exploit the physical, geographical, political, and symbolic potential of Masada as a performance site to create a politically and emotionally powerful operatic event.


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The libretto is by Temistocle Solera , inspired by Psalm The opera with its powerful chorus established Verdi as a major composer in 19th-century Italy. The full incipit is "Va, pensiero, sull'ali dorate", meaning "Go, thought, on wings of gold".
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