The libretto is based on the biblical books of 2 Kings, Jeremiah, Lamentations, and Daniel, and on the 1836 play by Auguste Anicet-Bourgeois and Francis Cornu.

"[2] The opera follows the plight of the Jews as they are assaulted, conquered and subsequently exiled from their homeland by the Babylonian king Nabucco (Nebuchadnezzar II).

After the failure of his second opera Un giorno di regno (completed in 1840 towards the end of a brutal two-year period during which both of his infant children and then his 26-year-old wife died), Verdi vowed never to compose again.

[2] The duration of 38 years since the event may have led to a somewhat romanticized view; or, as Verdi scholar Julian Budden writes: "he was concerned to weave a protective legend about himself [since] it was all part of his fierce independence of spirit."

[3][4] After a chance meeting with Merelli close to La Scala, the impresario gave him a copy of Temistocle Solera's libretto which had been rejected by the composer Otto Nicolai.

But Merelli would not accept the refusal; he immediately stuffed the papers back into Verdi's pocket and according to the composer, "not only threw me out of his office, but slammed the door in my face and locked himself in".

[5] Verdi claims that gradually he worked on the music: "This verse today, tomorrow that, here a note, there a whole phrase, and little by little the opera was written" so that by the autumn of 1841 it was complete.

Numerous Italian and foreign theatres put on this opera in the years immediately following, including La Fenice in Venice in December 1842.

[6] Nonetheless, a more plausible alternative for the establishment of this abbreviated form claims that it was the result of a revival of the opera in Teatro del Giglio of Lucca.

[8] The opera was first given in London at Her Majesty's Theatre on 3 March 1846 under the name of Nino, since the depiction of biblical characters on stage "was not considered proper".

[11] When the Metropolitan opened its season in September 2001, eleven days after the destruction of the World Trade Center, the chorus began by singing "Va, pensiero" in honor of the victims of the attack.

[19] It was performed at the Royal Opera House, Covent Garden in 1972 with Colin Davis,[20] and in March 2013 with director Daniele Abbado [it] for a new co-production with La Scala,[21] which was relayed to cinemas and subsequently released on DVD.

[25] Interior of the Temple of Solomon The Israelites pray as the Babylonian army advances on their city ("Gli arredi festivi giù cadano infranti" / "Throw down and destroy all festive decorations").

The High Priest Zaccaria tells the people not to despair but to trust in God ("D'Egitto là su i lidi" / "On the shores of Egypt He saved the life of Moses").

The presence of a hostage, Fenena, younger daughter of Nabucco, King of Babylon, may yet secure peace ("Come notte a sol fulgente" / "Like darkness before the sun").

The high priest Zaccaria curses him and warns of divine vengeance; an incensed Nabucco in turn orders the death of the Israelites.

Realizing his powerlessness, Nabucco pleads for Fenena's life ("Oh di qual onta aggravasi questo mio crin canuto" / "Oh, what shame must my old head suffer").

Scene 2: The banks of the River Euphrates The Israelites long for their homeland ("Va, pensiero, sull'ali dorate" / "Fly, thought, on golden wings").

He asks for forgiveness, and promises to rebuild the temple in Jerusalem and convert to Judaism if his prayers are answered ("Dio di Giuda" / "God of Judah!").

Historical and biblical records agree that the Jews were freed and their temple was rebuilt not by the Babylonians but by Cyrus the Great following his conquest of Babylon in 539 BC.

[27][28][29] Babylonians addressed their own god as "Bel" (Italian: Belo), related to the deity Marduk, who assumed the title of "lord" after his exaltation.

"He scores like a fool – technically he is not even professional – and he must have the heart of a donkey and in my view he is a pitiful, despicable composer ... Nabucco is nothing but "rage, invective, bloodshed and murder.

[2] At the 1845 premiere of the opera in Paris critics complained about the excessive use of brass instruments and this word play epigram appeared:[32] Vraiment l'affiche est dans son tort, en faux on devrait la poursuivre.

Music historians have perpetuated a powerful myth about the famous "Va, pensiero" chorus sung in the third act by the Hebrew slaves.

As encores were expressly forbidden by the Austrian authorities ruling northern Italy at the time to prevent public protests,[33] such a gesture would have been extremely significant.

Although the audience did indeed demand an encore, it was not for "Va, pensiero" but rather for the hymn "Immenso Jehova", sung by the Hebrew slaves in act 4 to thank God for saving his people.

[36] When his body was moved to the crypt of the Casa di Riposo, "Va, pensiero" was conducted by Arturo Toscanini with a chorus of 820 singers, with a crowd of estimated 300,000 in attendance.

[37] The overture, often played outside the context of the complete work in orchestral concerts, mostly consists of themes from the opera, including the Chorus of Hebrew Slaves and the warlike music when the Israelites curse Ismaele for his betrayal.

The music for Abigaille is extremely demanding, requiring a soprano who can sing both very low and very high with dramatic force and is also capable of virtuoso vocal decoration.