Much that Nabucco contained demonstrated the fully-trained composer, the scientific musician, and the able contrapuntist. The splendid chorus "Gli arredi festivi," sung by all the voices, and taken up by the basses alone; the charming chorus of virgins, "Gran Nume," beginning pianissimo and swelling up to a glorious burst of harmony; and the grand crescendo chorus Deh! l'empri, these manifested indisputable originality and learning. Other notable numbers proved to be the chorus "Lo vedesti," and the "Il maledetto non ha fratelli" movement; while the canone for five voices, "Suppressau gi'istanti," the scena, "O mia figlia" (which Fornasari was wont to render so feelingly), and the duet "Oh di qual onta aggravesi," are remarkable examples of characteristic musical composition, sure indications of greater artistic triumphs by their author. Among the many orchestral points of Nabucco, the harp accompaniment in the Virgins' chorus, and the employment of the brass instruments in the great crescendos are particularly novel and effective. Little wonder that such a work struck the keynote to Verdi's future greatness.
[4] Dr. Villiers Stanford in The Daily Graphic, 14th January 1893.
[5] Reminiscences of the Opera, p. 145 (Lumley).
[6] Illustrated London News, 14th March 1846.
[7] Athenæum, 7th March 1846.
[8] The Times, 4th March 1846.
[9] Reminiscences of the Opera, p. 416.
[10] Musical Recollections of the last Half-Century (1850 Season), May 31.