This energetic, noisy
opera was a product of Verdi’s ‘anni
di galera’ when he had difficulty in
keeping up with the pressure upon him
to compose operas. It has been described
as one of his ‘crasser’ products. I
can think of several composers who would
give their eye teeth to be able to write
such an opera. The problem for Verdi
is the standard of what had gone before
and what we now know was to come.
Verdi’s first choice
librettist was Piave – to whom, as ever,
he gave much advice. Then, he changed
his mind and asked Solera to undertake
it – which indeed Solera did but departed
for Spain leaving it unfinished. Piave
played the ever-compliant rescuing knight
and completed it. However the change
is very evident in many ways. One example
will suffice: the huge choruses of the
Prologue and Acts I and II disappear
entirely in Act III, a point emphasised
in this performance by the sheer size
of the La Scala chorus.
So, by Verdian standards,
not the best of operas; but by any standards
this must be one of the best performances
of it. Recorded in 1991, all had overcome
their curiosity of the camera so there
are none of the early distracting sly
glances. All is played on stage and
how well it is played, with all characters
engaging completely with the text.
The performance starts
with what I always find curious – the
staggered rise to their feet of the
La Scala orchestra as Muti enters: and
that ignores the contrast between his
tails and their suits. But what the
hell: this is Muti producing an orchestral
sound which is little short of inspirational:
superb legato, perfect phrasing and
musical scene-setting second to none.
On-stage scene changes are accomplished
so smoothly, musically and visually,
that it is a delight to watch and listen.
As it is to the cast.
Here is a believable Attila: from raw
powerhouse defiance in Vanitosi!
... che abbietti e dormenti to the
emotive single line E tu pure, Odabella?
Ramey is superb. His Act I cabaletta
Oltre quell limite stops the
performance for fully 40 seconds which
applause he himself halts by continuing.
Zancanaro as Ezio is
the consummate actor – so far as he
can with a somewhat wooden, if duplicitous,
character. For most of the time he sings
forte as demanded – particularly
in duets with Ramey, bass and baritone
often overlapping in vocal range and
always producing a glorious depth of
sound.
Similar demands of
power are made of Odabella, sung here
by Cheryl Studer. She accomplishes her
entrance high C leap easily and then
has to descend in a coloratura run to
the depths of B natural. Indeed she
frequently has to occupy the extremes
of her range and if I had a slight reservation
it is in her comfort at the lower end
at the start of the opera; but it is
a discomfort that resolves quickly.
Here is an Odabella who can be brilliantly
savage in voice and acting and then
at the start of Act I deliver a beautiful
gentle sound with some stunning notes
floated on high. Her acting is never
less than first class and when in duet
or ensemble there is admirable control
not to overwhelm – many other sopranos
please note.
Foresto is an odd character:
patriotic leader of displaced persons,
hesitant plotter who needs his resolve
stiffening (by Ezio) and easily swayed
lover. Kaludov’s slightly sharp timbred
tenor manages to convince in all facets:
vocally certain throughout, balancing
superbly with Studer and contrasting
with both Ramey and Zancanaro. He just
about manages with Studer to avoid the
almost rum-ti-tum-tum sounds of their
unison Oh t’innebria ... .
Gavazzi, as Uldino,
has a smoother tenor sound. He performs
this small part effectively particularly
as a vocal foil to both Ramey and Kaludov.
Sadly the few lines sung by Luperi are
almost overpowered by the one occasion
when the orchestra do not rein back
for the singers. This is a pity because
it reduces the dramatic effect vocally
– although visually the contrast between
the different choruses on stage is powerful.
This is a performance
to savour visually. Stage movement is
excellent. The costumes are stunning
with gloriously subtle and muted colours
for the Aquileian refugees contrasting
with the dour colours of the costumes
of the hermits. All is helped by some
excellent camera work producing several
‘paintings’ on the screen.
The accompanying simple
booklet gives a detailed synopsis with
the Italian libretto. There is no translation
but providing you can tolerate subtitles,
they work effectively here.
If this opera is a
strong candidate for the title of Verdi’s
weakest, then this performance must
be an equally strong candidate for the
best production of it. It is patent
that all those taking part enjoyed it:
even the usually reserved and urbane
smoothy Muti joins in the broad grinning
at the final curtain – and with every
justification.
Robert McKechnie
Attila, King of the Huns ... Samuel Ramey
(bass) 
OPUS
ARTE DVD 09478 03010 [118:00] 
