Tenerife Auditorium presents ‘Attila’, a patriotic version of Verdi on the life of the Hun king
This co-production, made with the Teatro Regio di Parma, takes the stage of the Symphony Hall on November 23, 25 and 27
The Tenerife Auditorium presents Attila,the second title of the Tenerife Opera season. It is a version of the most patriotic Giuseppe Verdi about the life of the Hun king, which will take place on November 23, 25 and 27 at 7:30 p.m. in the Symphony Hall. The details about this co-production, made together with the TeatroRegio di Parma, were announced by the Minister of Culture of the Cabildo, Enrique Arriaga; the musical director, Christopher Franklin, and the stage director and set designer of the work, Andrea de Rosa.
Enrique Arriaga advanced the list of roles of this production: “Theleading role, Attila, will be played by the Croatian bass Marko Mimica, while the maiden Odabella will be played by the Bulgarian soprano Tanya Ivanova. Baritone Alfredo Daza will be Ezio; tenor Antonio Poli, Foresto; the bass Rocco Cavalluzzi, Leone, and the tenor Javier Palacios will act as Uldino. To these voices are added those of the Tenerife Opera Choir”.
Arriaga recalled that culture is safe and more so in Auditorio de Tenerife, the first scenic space with AENOR certification for its plan to preventcovid-19 infections. Finally, the counselor explained that “from the Cabildo we work so that anyone can access culture and that income is not an obstacle; therefore, we have discounts for the unemployed, large families and children under thirty years of age”.
The music director, Christopher Franklin, who will be in charge of the Tenerife Symphony, explained that he was already in 2018 at Ópera de Tenerife with Lucia de Lammermoor and that now he arrives to address a great opportunity. “This score is bombastic and patriotic, dark and mysterious, with a leitmotiv as a warning saying to be careful with the strangers with whom you are going to drink,” analyzed the director, who warns of the reduced formation of the orchestra for this occasion for the correct fulfillment of the prevention measures.
Andrea de Rosa spoke about the content of the work and the scenery: “It takes place during the invasion of the Huns in Italy and speaks of the devastating impact of the war, a violence that affects both men and women and children.” The director explained that when staging such an opera the characters are not divided into good and bad, but rather other facets:”Yes, Attila is a fierce man but we also reflect his dreams and desires.” To do this, singers must also be actors to be able to convey all the nuances. Mystery, dream and unconscious is what De Rosa promises in this proposal.
Marko Mimica, lead singer, acknowledged that he has studied all those who, before him, have sung Verdi’s Attila in order to contribute to the character. “You can say that I have been preparing this role for ten years because I have sung a lot of one of the arias of the work, which is especially complicated,” added the Croatian singer, who highlights the nuances that this opera brings to the character, such as his love for Odabella, and recognizes that it is the most difficult role he has played.
This is Verdi’s ninth opera and consists of a prologue and three acts with libretto by Temistocle Solera. This proposal was premiered in the mid-nineteenth century and presents the story of Attila, king of the Huns, and his relationship with Odabella. The staging moves away from the traditional characteristics of this title, but maintains the spirit of the Verdian work. Andrea de Rosa’s team is completed with Alessandro Lai in costume design and Pasquale Mari in lighting.
The origin of Attila is the play Attila, König der Hunnen (Attila, King of the Huns),by the German Zacharias Werner, which Verdi had read after finding references to him in madame de Staël’s essay De l’Allemagne. In addition, he had been stimulated by the suggestion to write on a “barbaric” subject. The story takes place in Italy in the year 425. The events narrated in the prologue occur in Aquileia and the Adriatic lagoon, where Venice would later be erected. The next three acts take place in Rome.
The opera begins when, during the invasion of Italy, Attila has conquered the city of Aquileia and murdered his lord, but not his daughter: Odabella. A prisoner, she vows to avenge her father with the death of the king of the Huns. Attila is attracted by the strength of his character and intends it. She gives you her consent to facilitate your plans. Foresto, a nobleman of Aquileia in love with Odabella, appears on the scene.
Attila is upset: he has dreamed that an old man prevented him from conquering Rome and told him: “You are the scourge of humanity, but these are the dominions of God.” Even so, he orders to advance on Rome and the papa Leo I comesto him, who speaks to him with those same words. Attila recognizes in him the man of his dream, prostrates himself before the divine representative and renounces to take the city. The opera continues to develop the sub-themes of betrayal towards the king of theHuns, which will end in tragedy despite his acts of kindness.
Tickets can be purchased up to fifteen minutes before the start of each performance on the website www.auditoriodetenerife.com, by telephone at 902 317 327 and at the box office from Monday to Friday from 10:00 a.m. to 5:00 p.m. and Saturdays from 10:00 a.m. to 2:00 p.m. Special prices are available for large families, unemployed, children under thirty and subscribers 19-20 of Ópera de Tenerife. The public is requested to arrive at the venue well in advance to make a staggered entrance to the room.
The purchase of tickets implies the acceptance of the measures implemented by the cultural center of the Cabildo to deal withcovid-19, such as the correct use of the mask or assistance only with cohabitants. The complete measures, as well as the contingency plan certified by AENOR, can be consulted on the Auditorium’s website.