_The Times_ criticism on _Nino_ was less despairing. "The melodies" (we were told) "are not remarkable, but the rich instrumentation, and the effective massing of the voices do not fail to produce their impression, and a 'run' for some time may be confidently predicted."[8]
Mr. Lumley revived _Nino_ (_Nabucco_) towards the close of his memorable and vicissitudinous management. It was during the 1857 season. Mademoiselle Spezia made a decided mark in the part of Abigail, but the object of interest was Signor Corsi, who made his _début_ on the occasion.
"This celebrated singer," Mr. Lumley informs us, "had acquired so high a reputation in Italy as the legitimate successor to Georgio Ronconi, in the execution of lyrical parts of dramatic power, that the liveliest curiosity was excited by his first appearance."[9] Signor Corsi failed, however, to establish his claim to public favour either as a singer or actor. Curiously enough, this same season witnessed the production of the work under the name of _Anato_ by the rival London opera company, under Mr. Gye, at the Lyceum Theatre.
Nowadays we hear little of _Nabucco_. The world can well afford to go on with one opera the less, even though it be a good one; but fifty years have worked a vast change in operatic values, and, although the revival of _Nabucco_ might not be called for now, it must not be forgotten that, when it first appeared, it was, as an able critic has put it, "almost the only specimen the operatic stage has of late years furnished of a true ideal of the tragic drama."[10]
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.