One of the great joys of attending The Cooperative’s productions is counting the pinch-me moments (there are three this year) that outweigh the shortcomings of a shoestring budget and a mixed-ability company.

The first stems from the wonderfully high standard of the chorus that dominates Verdi’s Nabucco from the opening Gli arredi festivi giù cadano infranti (The festive trappings now lie broken) to the perennial favourite, Va, pensiero – the Chorus of the Hebrew Slaves.

In director Menila Moineaux’s staging, motivated by the plight of innocent war victims, the chorus members and children’s ensemble appear in their everyday attire, seemingly seeking refuge in the Pitt Street Uniting Church.

It’s an inspired choice that makes the audience feel at one with the chorus.

Bernard Leong-Lokman and chorus in The Cooperative’s Nabucco. Photo © Eddy Furlong

This is particularly poignant in Va, Pensiero, when a lone singer delivers the first few bars, seated in the dark next to an unsuspecting member of the audience. She is then joined by another chorus member seated in a different pew, and so it builds to a goosebump-inducing climax with voices coming at us from every corner of the hall, including in the upper gallery.

And here we have the second pinch-me moment of the evening: the realisation that under Moineaux’s direction, The Cooperative is delivering the kind of pop-up productions one associates with Birmingham Opera Company, founded by the late Graham Vick so young and diverse audiences could experience opera by “being a part of it and recognising themselves in it”.

A strong company of singers populates the principal roles, with baritone Tristan Entwistle delivering a robust reading of the title role, while Bernard Leong-Lokman’s warm bass-baritone more than meets the demands of the pivotal role of Zaccaria. Tenor Sam Elmi is a pleasant-sounding, serviceable Isamaele.

As Fenena, Angelique Tot delivers a fine rendition of Oh, dischiuso è il firmamento!. Her voice displays the requisite lachrymose quality the aria calls for, with fine deep declamatory notes and a top A that’s just there – definitely a mezzo-soprano to watch.

The night, however, belongs to award-winning soprano Livia Brash as one of the finest Abigailles you could wish to hear – the third pinch-me moment of the evening.

Livia Brash in the Cooperative’s Nabucco. Photo © Eddy Furlong

Having studied at the Vienna State Opera and under Richard Bonynge at the prestigious Georg Solti Accademia in Italy, she most recently came to Limelight’s attention in the abridged Ring Cycle, BrunnhAilde.

Brash impresses with a unique voice that blends the agility and luminosity of Aleksandra Kurzak with the richness and power of Marta Mödl in her heyday. Demonstrating expert control of her passagio, she effortlessly transitions into her imposing chest voice to punctuate impressive runs in the upper register. A starring spot on the mainstage awaits.

In the ‘pit’, conductor Toby Wong does his best to hold his cut-down forces together. When it works, the reduced orchestration sounds like a Savoy Opera, reminding us how much influence Verdi had on Sullivan’s own tunefulness. At other times, it resembles a military marching band, and the occasional fluffed note in the brass helps explain why, over the years, some critics have questioned the section’s overuse in Nabucco.

Special mention must go to the children’s ensemble, in particular Violet Rose Olds as Young Abigaille, who lend potent realism to the refugees’ plight throughout the performance.

The Cooperative presents Nabucco at the Pitt Street Uniting Church, Sydney, on 5 and 7 September.