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06/03/ · Giuseppe Verdi’s 3 Act Opera, Attila, is based on the play Attila, King of the Huns by Friedrich Ludwig Zacharias Werner. Set in mid 5th century Rome, the opera premiered on March 17th, at the La Fenice Opera House in Venice Italy and tells the story of Attila Estimated Reading Time: 4 mins. Attila is an opera in a prologue and three acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on the play Attila, König der Hunnen (Attila, King of the Huns) by Zacharias Werner. The opera received its first performance at La Fenice in Venice on 17 March 24/06/ · Passion and patriotic fervor: Verdi’s Attila in concert with Deutsche Oper Berlin By Christie Franke, 24 June Attila, Verdi’s ode to Italy (one of them), made its world première in Venice to huge bursts of patriotic feeling.3/5. VERDI: Attila. Samuel Ramey, bass (Attila), Giorgio Zancanaro, baritone (Ezio), Cheryl Studer, soprano, (Odabella), Kaludi Kaludov, tenor (Foresto), Chorus and Orchestra of the Teatro alla Scala, Milan, Riccardo Muti, Conductor. This DVD release, taken from an RAI telecast, documents a La Scala performance of Verdi’s opera, based on.
The libretto is a condensation of a highly charged German romantic play, Attila, König der Hunnen by Zacharias Werner Antonio Solera wrote most of the text. Francesco Piave completed the last act which Solera had left in outline form after he followed his prima-donna wife to Madrid. Anything by Verdi has something of interest in it, but this opera is pretty sparse. Basses like to sing the title part mainly because they can dress up like Johnny Depp playing Tonto in the new Lone Ranger movie.
I saw Attila in Chicago three decades ago. They did it for Sam Ramey. The Met staged the opera for the first time in with Ildar Abdrazakov in the title role. Sam Ramey was Pope Leo in that production. This drove contemporary Italian audiences mad to the point where they were likely to jump out of boxes and balconies. Ezio also has a fine aria in the first scene of the second act. The lilliputian dimensions of the theater mandated a small staging which the company managed with great effect making use of motion picture projections.
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On the nearby island of Torcello, there is a stone throne which is said to have been used by Attila, King of the Huns, during his 5th-century invasion of Italy. Alas, it’s a legend without foundation. Local fiction also plays a part in Verdi’s opera Attila when Foresto and other refugees from Aquileia establish the city of Venice, raising it from the swamps.
But Verdi knew the scene would appeal to the local audience when it premiered at La Fenice in This evening, Attila returned to its Venetian home, where it was given a performance bursting with energy. Venice had been under Austrian rule since and with the rise of the Risorgimento, which would lead to the revolutions of , this was a pertinent message that the audience cheered wildly.
The overthrow of a tyrannical invader was a popular subject. In the opera, it takes three protagonists to conspire against Attila: Ezio, Foresto an Aquileian knight and his beloved Odabella, extolling the patriotic spirit of Italian women by seeking revenge against her father’s death at Attila’s hand. Verdi’s early operas are full of strong women and here it’s Odabella who deals the deadly blow, stabbing Attila with the very sword he had presented her with in the prologue, aroused by her feisty spirit.
A clumsy move.
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Some of the least attractive characters in his operas ranged from pushy regicidal wives and vengeful Venetian psychopaths to homicidal high priests of Ptah and sanguinary Grand Inquisitors. That such a hitherto invincible foreign invader could be dissuaded from continuing his assault on Rome by nothing more than the appearance of an ancient pontiff with only a few decrepit anziani, pre-pubertal virgins and gawkish children at his side is hardly plausible.
The meeting between Pope and predator actually took place near Mantua, more than kilometers away, and if the painter Raffaello is to be believed, both Saints Peter and Paul were also part of the pow-wow. There is a shape to the musical lines that is like sculpture. The singing and articulation must come first, even more than urgency and emotion.
Rustioni clearly inspired both singers, chorus and orchestra and it is easy to understand why he is considered one of the most exciting young opera conductors today. The smiling Milanese maestro is tremendously physical on the podium with crouches, leaps, jumps, jabs and stomps all part of his palpable enthusiasm.
With one minor exception, the singers were impressive. The role of Leo I was sung by an unnamed member of the chorus with minimal papal gravitas and even less vocal distinction. Mour has a light dulcet timbre and easy tenore di grazie technique with a secure, forward focused top. One can imagine him as an ideal Nemorino, Cassio or Tamino in the future. The role of the Roman general Ezio was sung by one of the three Russian musketeers in the cast, Alexei Markov.
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Ildar Abdrazakov Attila Anna Markarova Odabella Vladislav Sulimsky Ezio Sergei Skorokhodov Foresto Mikhail Makarov Uldino Timur Abdikeyev Leone. A production by the State Academic Mariinsky Theatre , in arrangement with Euroarts Music International. MAR DVD UPC DVD9 Region 0 – Worldwide NTSC 2. MAR Blu-ray UPC BD50 All regions HD i60 NTSC 2. Release of the Week ‚The singers are in fine form, particularly bass Abdrazakov. There’s just something about a Russian bass!
And the orchestra sizzles as well, albeit it in a slightly Russian fashion, as if perhaps a Tchaikovsky opera was part of a double bill. All in all, it’s an exciting performance and refreshingly old school. Anna Markarova is vocally and dramatically fearless as Odabella, launching herself confidently at the demanding writing with which Verdi characterises this warrior maiden… Valery Gergiev marshals his Mariinsky forces with vigour.
Released in celebration of Verdi’s anniversary year, acclaimed Russian bass Ildar Abdrazakov stars in the title role of Verdi’s Attila , in the premiere of Arturo Gama’s production. He is ably supported by soprano Anna Markarova in the role of Odabella; baritone Vladislav Sulimsky in the role of Ezio, and tenor Sergei Skorokhodov as Foresto. Available on both DVD and Blu-ray this release was filmed at the historic Mariinsky Opera House, St Petersburg.
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Attila: Yevgeny Nikitin Odabella: Tatiana Serjan Foresto: Sergei Skorokhodov Ezio: Vladislav Sulimsky. Aquileia and the Adriatic lagoons and the environs of Rome, circa mid 5th century. Odabella creates a great impression on Attila. He presents her with his sword and takes her into his entourage. Ezio, a Roman general, comes to parley with Attila, but the latter rejects his proposal. Act I Meeting Foresto, Odabella convinces him that she has not betrayed the Italian cause.
She was merely awaiting an opportunity to settle accounts with the tyrant and kill him. But his courage fails when the nightmare becomes a reality. Attila recognises in him the old man from his dreams. Attila declares that she shall be his bride the next day and then he will lead his warriors to Rome. Taking advantage of the general rejoicing, the girl urges Foresto, who has tried to poison Attila, to flee.
The action unfolds in the year , and on stage we see barbarian hordes fighting Latin civilisation. The Huns and the Ostrogoths are being opposed by heroes led by the intrepid Roman Odabella according to a legend set forth in The Elder Edda , Attila was killed in his sleep by one of his wives. The librettist Temistocle Solera abandoned the unfinished opera halfway through and departed for Madrid with his wife, the singer Teresa Rosmini.
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Join StageAgent today and unlock amazing theatre resources and opportunities. Research Playwrights, Librettists, Composers and Lyricists. Browse Theatre Writers. The story takes place in 5th century in the city of Aquileia. Attila the Hun is attempting to conquer the world and destroying all that lies in his path. After invading Aquileia, the Huns take a group of Virgins that survived the assault.
One of the virgins is the beautiful Odabella. Odabella agrees to be loyal to Attila but secretly plans to murder him to avenge the death of her father who died trying to protect the city. Meanwhile, her lover, Foresto, becomes jealous when he thinks that Odabella has betrayed Aquileia to join Attila the Hun. However, in the end, Odabella’s plan works and she kills Attila.
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We have learned that Verdi was a patriot, who supported the cause of a united Italy. The native Italians are either terrorists or devious politicians. It is the savage who is noble. Or rather, it is Attila who is vulnerable to emotion, while his cool adversaries use intellect to destroy his threat. In this aim they are abetted by the elements, which combine to unsettle and then demolish the invader. Attila inhabits a primitive world.
Verdi and his librettist Solera are careful to evoke this antique world of simple values. Much is made of natural forces — the heavens, gods, the skies, elemental moments. The movement from darkness to light is echoed by the movement from piano to forte , from major to minor, and the prolonged resolution of dissonant chords.
After the purging fire of the sack of Aquilea come the watery lagoons of the Adriatic. One might expect Attila to be composed as a noisy Risorgimento opera, replete with patriotic choruses. On the contrary, the use of the chorus is strictly functional. Attila is an opera about confrontation between individuals.
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Composers | Genres | Operas | Libretti | Arias | About: Attila – Giuseppe Verdi – Libretto by Temistocle Solera: First performance at Teatro La Fenice, Venice on 17 March Synopsis: Italian libretto – German translation – Spanish translation: Article in Wikipedia. Verdi’s 9th opera, Attila, was first performed at the Teatro la Fenice, Venice 0n March 17, The libretto is a condensation of a highly charged German romantic play, Attila, König der Hunnen by Zacharias Werner (). And it’s still too long. Antonio Solera wrote most of the text.
From the Tutto Verdi Series-Based on a Romantic tragedy by Zacharias Werner, Attila is set in the 5th century AD. The opera takes as its starting point Attila’s plans to storm Rome with his Read all From the Tutto Verdi Series-Based on a Romantic tragedy by Zacharias Werner, Attila is set in the 5th century AD. The opera takes as its starting point Attila’s plans to storm Rome with his army of Huns and the Roman’s attempts to prevent him.
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