Attila (Opera Essential) (Italian Edition)

New York. Talking with "Il Maestro". Riccardo Muti reveals Attila at the Met

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  • The Verdi Festival and the Soul of Italy - Los Angeles Review of Books

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    Page 1 of 1 Start over Page 1 of 1. Customers who bought this item also bought. I Due Foscari [2 CD]. Macbeth 2 CD Originals. About the Artist Riccardo Muti was born in in Naples. Sample this album Artist - Artist Sample. Allor che i forti corrono. Uldino, a me dinanzi l'inviato. Trado per gli anni, e tremulo. Ma se fraterno vincolo. Ella in poter del barbaro! Cessato alfine il turbine. Qual Suon Di Passi! Oltre A Quel Limite T'attendo. Del Ciel L'immensa Volta. Chi Dona Luce Al Cor?.. Si Riaccendan Le Quercie.

    Attila - Giuseppe Verdi - 1972 GENCER,GHIAUROV,LUCHETTI,TADDEI,MITTELMANN,MUTI

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    There was a problem filtering reviews right now. Please try again later. Audio CD Verified Purchase. This is an excellent recording of a Verdi opera few people know.

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    Amazon Music Stream millions of songs. Verdi himself lived and breathed the new national emotions of the 19th century, and it can be difficult for us to recapture the freshness of those feelings after the brutalization of nationalism in the 20th century, not least in fascist Italy. Yes No Report this. Skip to main content. East Dane Designer Men's Fashion.

    It was first performed at the MET only in , the opera Riccardo Muti chose for his overdue house debut. That production left a lot to be desired because of the strange, un-Verdian approaches of the director, costume designer, and set designer, but it was musically about as good as you can get these days and showed off the vigorous young Verdi. This recording made some years ago is even better and highly recommended.

    I don't much care for EMI's penny-pinching approach to notes and libretto: You won't be disappointed in the performance, I promise. Move on- you can do better. Verdi's music is great. I know of only three studio recordings of "Attila" and it is to this day rarely performed, although it strikes me as almost as melodic, dramatic and entertaining as its close cousins "Ernani" and "Nabucco", especially when performed as well as it is here. Gardelli recorded a flawed set for Hungaroton which can be discounted, but he and Muti, the conductors of studio recordings from Philips in and EMI in respectively, are Verdi specialists; both know how to drive the action forward yet still give their singers space to make their points, and both are masters of early Verdian style.

    Thus choosing between the two depends very much upon personal taste in voices and a weighing up of the many advantages, and few disadvantages, of both sets. The sopranos, Cristina Deutekom and the Cheryl Studer, in fact sound very similar, with fast vibratos, a slight tendency to tremulousness and a really edgy, nervy dramatic flair which successfully captures the volatile and rather unpleasant Odabella. Both cope very well with the sweep and range of the part, so not much between them. Similarly, both Sherrill Milnes and Giorgio Zancanaro are thrilling, truly Italianate baritones with the heft, range, ping, legato and upper extension to encompass the demands of the role of Ezio.

    Both choruses and orchestras are exemplary; nothing between them, either. However, there is more to think about when considering the singers who take the eponymous bass role and the comparatively small as in "Nabucco" and "Macbeth" tenor parts. As is so often the case, Ruggero Raimondi has a beautiful line and inflects the text intelligently, but compared with Samuel Ramey, lacks the weight and gravity of voice which the latter artist brings to Attila.

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    As for Shicoff and Bergonzi, the younger artist turns in one of his more impressive performances, but the unadorned line of his singing and rather unremitting nasal tone compare less favourably with Bergonzi's elegance and individuality. Having said that, signs of deterioration in Bergonzi's basic vocal quality are already creeping in, in the early 70's, and he manages less sheer gusto than Shicoff. So in the end you must go with your own preference, but neither set disappoints. Both rise to the big numbers and the ensembles are especially rousing. As chances to hear it live are relatively few, any Verdian should own one if not both of these two recordings.

    Unfortunately, in this re-issue EMI is pursuing its irritating, cheese-paring practice of supplying the libretto on a "bonus disc" instead of in immediately readable form. I had never heard Attila until a few months ago, when the Met aired Riccardo Muti's performance on their Saturday broadcast. The Mary Poppins Returns star gives a behind-the-scenes look at her new film.

    As a big fan of Verdi and of opera, I was interested in seeing Attila after hearing Sherrill Milnes singing Ezio's e Gettata la Mia Sorte from the late 60s he did a recording in too but this particular performance was more agile, punchy and focused in pitch, also he does a thrilling high B flat in it.

    Attila, like Ernani and Luisa Miller, was a Verdi opera I didn't know much about other than the basic plot line until earlier this year. After hearing it I am surprised I didn't see or hear much about it before. The story did draw me in, Attila is a very charismatic and involving lead character and the music is as is always the case with Verdi is absolutely wonderful. This production is very powerful and atmospheric.

    The sets and lighting are superb, and the costumes particularly Attila's look imposing in general, though I wasn't entirely sure about the Huns dressing in blue and pink at first. Attila is imaginatively staged and directed without straying too far from the basic story and the dramatics of the music, and Riccardo Muti's conducting and the orchestra under his baton are spot on.

    This production of Attila also has fine performances, the best coming from Samuel Ramey in the title role who is just magnificent. He has a very resonant voice, and his stage presence is so magnetic and compelling. Also excellent is Cheryl Studer as Odabella, especially in her acting which is riveting right from the opening scene. She also possesses a beautiful voice, if rather pushed at times. Kuludi Kuludov is a solid Forresto, and Giorgio Zancanaro a fine Ezio, particularly during e Gettata la Mia Sorte which is done with a lot of agility and nobility.

    The Verdi Festival and the Soul of Italy - Los Angeles Review of Books

    All in all, a wonderful production. Enjoy a night in with these popular movies available to stream now with Prime Video. Start your free trial.