Reception of Mesopotamia on Film. Maria de Fatima Rosa

      47 47 Carman 2016, p. 234.

      48 48 Byron 1823, Act III.

      49 49 The Sardanapalo of Amadio’s movie is not effeminate and may even be considered a kind and thoughtful king. Vide Part II, Chapter 7.

      50 50 About this aspect, vide Poole 1999.

      51 51 Byron was an active voice (Carman 2016, p. 237, Poole 1999, p. 167) in the war for Greek independence from Ottoman-Turkish rule and inclusively took up arms and joined the Greek soldiers.

      52 52 Byron 1823, Act III.

      53 53 Poole 1999, p. 150.

      54 54 Even more elaborate with regard to this aspect was the German opera of the early twentieth century entitled Sardanapal, Historische Pantomine, which featured sets designed by Walter Andrae himself, the German archaeologist responsible for the first archaeological campaigns in Assur (1902–1914). Vide Nadali 2013a, p. 402.

      55 55 Charles Kean staged Sardanapalus, or, The Fall of Nineveh for the first time in 1853.

      56 56 Charles Alexander Calvert showcased a production in Manchester dated from 1875.

      57 57 Pomarè 2014, p. 277.

      58 58 Description of Nimrod’s court in Calvert’s Byronic version (Calvert, Lord Byron’s Historical Tragedy of Sardanapalus, p. 24 apud, 2014, p. 275).

      59 59 Besides Slaves of Babylon (1953), Les sept péchés capitaux - I - L’orgueil (1910), a short film by Louis Feuillade (Dumont 2009, p. 114), the relatively unknown Jeremias (1922) or The Fall of Babylon, a German movie by Hungarian Eugen Illés (Horak 2005), and Nabokodnassar (1960) by Iraqi Kamel Al-Azzawi (Dumont 2009, p. 119), should be mentioned.

      60 60 According to the author “Il mio Nabucco pèro non è quello della Scrittura, ma bensì il padre di questo, che fu conquistore e fondatore dell’impero degli Assiri” (“My Nabucco is not that of the Scripture, but rather his father, who was the conqueror and founder of the Assyrian empire,” Ricordi della vita e delle opera di G. B. Niccolini 1886, p. 428).

      61 61 “May my corpse be retained by the waves,/And every king always wait for me, and tremble” (Niccolini 1819, p. 71).

      62 62 Seymour 2013, p. 10.

      63 63 Pistone 2009, p. 19, Anicet-Bourgeoie and Cornu (n.d.).

      64 64 Makolkin 2013, p. 176.

      65 65 In some operas, as Niccolini’s, the relationship between the events of the present time and those of the past became more obvious with the insertion in the librettos of a “key” which attributed to each character of the composition an identification with a figure within society (Vide Kimbell 1981, p. 448, Garofalo 2011). Antiquity was not merely being staged, but was being fully experienced – Nebuchadnezzar became Napoleon, Mitrane Pope Pius VII, and so on.

      66 66 Heller 1993, p. 95 and Asher-Greve 2007.

      67 67 In sum, Nabucco reflects on the stage the Italian nationalist movement spirit (Mi Ma 2018).

      68 68 Adopting the nomenclature of Solera’s libretto which differs from the one of his French counterparts.

      69 69 Vide Chapter 1.

      70 70 Vide Part II, Chapter 8.

      71 71 Through him, the growing religious fanaticism of the beginning of the nineteenth century was criticized and the tensions between secular and religious power were highlighted (Makolkin 2013, p. 175).