Attila - Opera in a prologue and three
Attila, King of the Huns - Giovanni Battista Parodi (bass); Ezio,
a Roman general - Sebastián Catana (baritone); Odabella, daughter
of the Lord of Aquileia - Susanna Branchini (soprano); Foresto,
a knight of Aquiliea - Roberto De Biasio (tenor); Uldino, a young
Breton, Attila’s slave - Cristiano Cremonini (tenor); Leone, an
old Roman - Zyian Atfeh (bass)
Orchestra and Chorus of the Teatro Regio, Parma/Andrea Battistoni
rec. Verdi Theatre, Busetto, October 2010
Director: Pier Francesco Maestrini
Sets and Costumes: Carlo Salvi
Video Projections: Alfredo Troisi.
Video format: 1080i; Aspect: 16:9. Sound Format: DTS-HD MA 5.01
Booklet notes in English, German, French
Subtitles. Italian (original language), English, German, French,
Spanish, Chinese, Korean, Japanese
C MAJOR BLU RAY
721704 [118:00 + 10:00]
This is numbered 9 in the complete edition of all twenty-six
Verdi operas, plus the Requiem, scheduled to appear on video.
Recorded at the Parma Verdi Festival, and called Tutto Verdi,
the edition will mark the bicentenary of the composer’s birth.
Premiered in 1846, when Verdi was thirty-three years old, Attila
was written well into the period following the success of his
third opera, Nabucco in 1841. He called this period
his “years in the galley” as, during this time, he was constantly
on the move from his base in Milan to bring his latest opera
to the stage and supervise revivals of others. This pace of
life took its toll on his frail psyche and bodily well-being.
In 1845 he wrote “My mind is always black. I must look forward
to the passing of the next three years. I must write six operas.”
One of those six was Attila. It was the first of three
written under a contract with the publisher Lucca who retained
all rights. It was the first time Verdi had written for a publisher
not a theatre. Several years later Lucca sold the autograph
to a wealthy Englishman living in Florence. It is now in the
British Museum and is the only Verdi autograph not held by the
Italian publisher Ricordi or the Bibliothčque Nationale in Paris.
Based on Zacharias Werner’s play Attila, König der Hunnen,
Verdi’s opera was first performed at the Teatro La Fenice, Venice,
in March 1846. In sequence it follows on from the failure of
Alzira whose limitations the composer himself recognised.
Alzira is one of the two Verdi operas that, prior to
the recordings to be issued in this series, has not previously
appeared in the video medium.
Interest in Attila only waned as it was overtaken by
the popularity of the great trio of the composer’s middle period:
Rigoletto, Il Trovatore and La Traviata.
The reason for this is to be found the delineation of character
in the music allied with the thrusting style found in Nabucco.
These qualities are there in the rousing choruses and in the
arias and duets that define the characters. The magnanimous
nature of Attila, who has raised Aquileia is heard in the opening
aria (CH.3) and when he is confronted by the feisty Odabella
(CHS.4-6). That of his respected opponent, Ezio, is evident
as he calls on the victor “You may have the universe but
leave Italy to me” (CH.7); the line was designed to rouse
nationalistic sentiments against the occupying Hapsburgs. A
similar sub-text possesses the music for Odabella, the feisty
daughter of the slaughtered King of Aquileia. This is immediately
evident when she confronts Attila and later when she has to
convince her lover, Foresto, that she remains faithful to the
cause and to the intention to kill Attila (CHs.14-15 and 34-35).
The music for her lover, Foresto is not as well defined, perhaps
related to the equivocal nature of his role as lover of Odabella
as well as a soldier intent on revenge.
This performance was recorded at the Teatro Verdi in the town
of Bussetto, where Verdi lived and later bought his estate.
It was the place where as a child he had lodged with Barezzi,
who subsequently financed his musical education in Milan and
whose daughter he married. She, together with their two young
children died as Verdi sought to build his career. The building
of the theatre and its naming brought some conflict between
Verdi and the town council who expected him to contribute to
its building. He eventually did so, but never entered it. It
seats only about three hundred, fewer for opera productions.
Its cramped stage conditions are challenging for directors.
Franco Zeffirelli produced operas there, as has the vastly experienced
Pier Luigi Pizzi who presented I Vespri Siciliani in
2003 (see review).
He produces the same opera that is featured in this series with
Daniela Dessi as Elena. Verdi’s second opera, Un Giorno
di Regno, already issued in this series (review in hand)
was also recorded in this theatre.
Pier Francesco Maestrini, the director of this production, sets
things in period with the help of costumes and minimal sets
by Carlo Salvi. He achieves a most atmospheric and realistic
setting by the use of imaginative and active video projections
by Alfredo Troisi. Perhaps the best of these is in Act Three
where the woodlands even have an apparently flowing stream.
These projections allow the Director full use of the small stage
with minimal restriction. He uses it most imaginatively and
in a realistic manner to allow the soloists and chorus to present
a very worthy performance.
In such a small theatre it is difficult to assess the absolute
qualities of the soloists. Suffice to say that there are no
evident weaknesses. In the title role Giovanni Battista Parodi
is sonorous and generally steady with an imposing physical presence.
He is matched by his opponent Ezio, sung with tonal strength
and excellent characterisation by the Romanian baritone, Sebastián
Catana. As the feisty Odabella, Susanna Branchini is a revelation.
She sounds like the genuine article: a dramatic Verdi soprano.
Rather like the young Elena Suliotis she tends to fling her
voice with abandon and the effect is electric. I would like
to hear her in a larger theatre. Roberto De Biasio features
on several of the issues in this series. I have noted in my
review of his singing of the role of the young Foscari in the
performance of I Due Foscari (review in hand) his is
a voice of much promise with a pleasing clear timbre. He often
makes an effort at expression as well as singing mezza voce
and sotto voce when appropriate. As in that 2009 performance,
he still lacks elegance of phrasing but I hope that aspect will
develop. On the plus side he does not shout, varying his modulation
to the music and words; virtues not exhibited by every contemporaneous
tenor in the Verdi repertoire.
To the virtues of the staging and singing I must add those of
the vibrant and committed acting of the chorus. Then there is
the matter of the conducting of Andrea Battistoni. He looks
far too young to be in charge of a production of any Verdi work,
let alone one so demanding in drama and full of thrust and rousing
melody. I gather that he was a mere twenty-three years of age
at this performance! He certainly seems to be of that line of
Italian conductors, some of whom have gone on to great careers
on the rostrum at some of the best operatic addresses as well
as music director titles. The audience certainly recognise the
quality of his contribution at the curtain.
On CD there are two alternatives worthy of consideration. That
on Philips (426 115-2) issued as part of their early Verdi series
has the immaculate Carlo Bergonzi as Foresto alongside a thin-toned
Cristina Deutekom as Odabella. Ruggero Raimondi sings the title
role sonorously, albeit a touch lugubrious. On EMI (see review)
a sonorous and characterful Samuel Ramey in the eponymous role
is well matched by Cheryl Studer as Odabella. Whilst Neil Schicoff
is no match for Bergonzi, the two baritones, Sherrill Milnes
on Philips and Giorgio Zancanaro on EMI, are excellent. The
Opus Arte DVD from La Scala, recorded in the 1990-1991 season
(OA LS 3010 D) enjoys a realistic staging. It is conducted by
Muti who has the same main cast as his EMI CD recording except
for Kaludi Kaludov as an undistinguished Foresto.
Robert J Farr