Spain Verdi, Attila (concert performance): Soloists, Teatro Real Chorus and Orchestra / Nicola Luisotti (conductor). Teatro Real, Madrid, 14.5.2025. (JMI)
Cast:
Attila – Christian Van Horn
Ezio – Artur Ruciński
Odabella – Sondra Radvanovsky
Foresto – Michael Fabiano
Uldino – Moisés Marín
Leone – Insung Sim
Attila, one of the operas that Giuseppe Verdi composed during the so-called ‘Galley Years’, had its premiere in Venice in 1846. Verdi and Temistocle Solera, the librettist, clearly took advantage of this to pay homage to the city of canals, thrilling the audience with the famous duet between Attila and the Roman Ezio.
Teatro Real presented the concert version of this three-act opera in two parts, and they varied both dramatically and musically: the quality of the libretto and even of the music dropped in the second half. It was noted by the audience at this concert, as the applause during the second half of the opera barely reached a third of what was given to the singers earlier.
Attila requires four outstanding soloists for the main roles, and that is not easy to achieve. However, a distinguished quartet, led by Sondra Radvanovsky, has been assembled in Madrid.
The musical direction was under the baton of Nicola Luisotti, whom I have always considered an outstanding conductor, especially in operas by Verdi. Once again, his interpretation was worthy of praise, although not in the first half-hour of the opera: there was an excess of sound from both orchestra and chorus. Fortunately, things changed for the better, and Luisotti returned to being the important conductor he has always been. The Teatro Real’s Chorus and Orchestra did well under his command.
Attila was played by bass Christian Van Horn, whom I found to be better in the role than I expected. His voice is appropriate for the King of the Huns, and his performance in the first part of the opera was excellent.
Sondra Radvanovsky as Odabella triumphed in this concert. She is one of today’s leading sopranos, and it would be difficult to find an Odabella who compares to hers. I had some doubts about whether she would be here as she had canceled her appearance in Attila in Naples a few weeks ago. She did very well, especially in her opening cavatina which presents every possible challenge for a singer. Radvanovsky’s voice is excellent, and she flawlessly covers the entire range of the tessitura: in short, a great Odabella.
Ezio was baritone Artur Ruciński, who has an attractive voice and a good singing line. His volume is not excessive, and his top notes did not seem to come easily. He excelled in that always-anticipated duet with Attila.
Tenor Michael Fabiano as Foresto offered his well-known voice and solid technique, especially in his scene in the second part of the opera where he was at his best. He struggled with the higher notes, notably in his duet with Odabella in the first part. Radvanovsky ended the duet with a spectacular high note, while Fabiano went for the lower alternative.
In the supporting roles, bass Insung Sim was correct as Leone, as was tenor Moisés Marín in the part of Uldino.
José M. Irurzun