Giuseppe Verdi’s ninth opera, Attila, finally makes its Metropolitan Opera debut after 164 long years. First performed in 1846 at La Fenice theater in Venice, this classic has been rarely performed throughout the ages. Leading this jewel of a masterpiece in his long-awaited debut was Maestro Riccardo Muti. Truly, this was two grand events to take stock of and lots of hype and fanfare rightfully accompanied the production.
The Met has been billing Attila as the only title role Verdi ever wrote for a bass. However, if someone had done their homework, they would have discovered the master’s first opera and his first title bass role – Oberto, Conte di San Bonifacio – premiered in 1839. This was just the first of many slight miscalculations to occur with this particular production.
Attila conquers Rome. The Roman Captain, Ezio, pairing with Attila, says that he can have the universe, but let him have Italy – a relatively rousing patriotic line at the time the opera premiered. Odabella stands up to the voracious Hun and he is immediately attracted to her, of course. He offers her marriage, never guessing that she is plotting with everyone else on stage to kill him. She foils Foresto, her lover, in his plot to poison Attila. She wants to have the vengeance all to herself since Attila murdered her father. In the end, Attila meets his demise at Odabella’s hand with the sword that he gave her. Why he didn’t see that coming is a mystery to everyone. Not a complicated story, but, paired with the inspiring – rather stimulating – music of Verdi, it makes one heck of a performance when it’s done right.
Taking on the title character, Ildar Abdrazakov was unsteady and barely audible. He sang with little presence in his voice choosing to use a “woofy bass” quality that actually sounds more like a teddy bear than an almighty conqueror striking fear into the hearts of all who hear him. His acting was limited and rather flat. In a rather comical death that was staged horribly, he died with a plastic sword – finally.
Article comments
1 - Bob
The annual Vanity Fair list of "the world's most powerful people," reveals that most of its members are Jewish. Joseph Aaron, of The Chicago Jewish News, feels very good about it. "Talk about us being accepted into this society, talk about us having power in this society," Aaron wrote this week.
Miuccia Bianchi Prada, a paid-up member of the Communist party and champion of women's rights in Milan, Peter Gelb, General Manager, and James Levine, Music Director, of the Metropolitan Opera are on the list, too. Their contribution to this society is well described above, in Dan Boone's article.
2 - meccinator
I think your review is right on. I saw the production last nite and thought it was simply an awful overall show. That is not to denegrate the singers, however who did sound really great. I also agree that the Met has been drifting a little too far from tradition, which is part of why opera lovers crave and enjoy the artform.
3 - c. diamond
I'm reading this years later (about to see a production from La Scala this week at the SF Opera) --June, 2012--but find this review such a delight--lots of humor/wit, and now feel that I should see what the NY Times had to say about the same show. I think I will look for your blog again, if you are still at it! Bravo!