Giuseppe Verdi: Attila - Dramma Lirico in a Prologue and Three Acts

'Attila' (2010)

Opening thoughts: 'Attila' is well worth listening to and also worth watching when performed on stage (which is pretty rare today). Admittedly it does not have the greatest story in the world, with it tending to be quite static. The music however is absolutely beautiful, Ezio's "E Getatta la Mia Sorte" being the highlight. Watched this Marriinsky production with interest and apprehension. Absolutely love Ildar Abdrazakov and Marriinsky and Valery Gergiev have done a lot of amazing stuff in the Russian repertoire, and have contributed hugely to rarely performed Russian operas being performed more and accessibly and internationally. Have always felt thought though that their non-Russian repertoire performances very hit and miss.

Fortunately, this production is one of the hits and so much better than expected, considering how much of a change of pace early Verdi is for Marriinsky and Gergiev. It may not be perfect or one of the best Verdi productions around, but there is a lot to be impressed by and it is a very good example of why 'Attila' and early Verdi should be performed more. Most are not great story-wise to put it mildly, but most have wonderful music and memorable characters.

Bad things: The production isn't perfect as said. Personally did have trouble understanding the diction throughout, especially the chorus whose diction is pretty much a sea of not always pleasant guttural sounds.

It also took me a while to warm to Anna Makarova's Odabella, finding her singing too steely and too heavy (like she was getting into Brunnhilde mode) and her acting too stand and deliver.

Good things: However, there are a huge number of good things. For one thing, Abdrazakov is absolutely magnificent in the title role. His warm dark voice is capable throughout of tenderness and bite and his musicality is a perfect mix of forceful loud and tender soft with beautifully varied dynamics and phrasing. He is an imperious presence on stage too, full of powerful authority while very nuanced too. The same goes for the other standout Vladislav Sulimsky, his acting is very commanding and regal, bass baritone don't always fare well in baritone roles (ie. Struggling at the top) but there was no signs of straining at the top here. For me, he is as good as Sherrill Milnes as Ezio, a huge compliment as a huge fan of Milnes.

Sergei Skorokhodov is an ardent, heroic Forresto, his voice a pleasing mix of heft and lyricism. Makarova does relax quite a bit later on where her tone becomes warmer and her expression shows more variety. She and Skorokhodov shine in their Act 1 duet. The orchestra play with fire and nuance, not resorting to too much bombast. The chorus sing engagingly and don't sound too woolly, their acting being involved enough, only their diction isn't so good. Gergiev conducts with intensity but allows the singers to have freedom as well, not making the music too heavy handed and the less eventful parts don't plod.

Visually, the production does appeal. The sets were a little too vague at first, but on the whole they are very atmospheric and not too dark. Never distasteful or gimmicky either and the abstractness is never taken too far that if becomes cheap. The costumes are designed well and fit the period, thank goodness that they are not a mishmash too. The staging is cohesive and tasteful, not easy making static action interesting but it is managed here with the acting and character interaction being so strong. Nothing offensive or gratuitous.

Closing thoughts: Overall, very impressive and worthy of a lot of admiration.

8/10.