Attila summary. "Attila" - lyrical opera in three acts

Opera by Giuseppe Verdi in 3 acts with prologue; libretto by T. Solera and F. Piave based on the tragedy by C. Werner.
First production: Venice, Teatro La Fenice, March 17, 1846

Characters:

Attila, King of the Huns (bass)
Aetius, Roman general (bass)
Odabella, daughter of the ruler of Aquileia (soprano)
Foresto, her fiance (tenor)
Uldino, young Breton, slave of Attila (tenor)
Leo, the Old Roman (bass)
Huns, warriors of the Germanic tribes subject to Attila, Romans, inhabitants of Aquileia, Christian hermits, druids, priestesses, slaves

The action takes place in Italy in 452 - 453.

History of creation

The heroes of Verdi's ninth opera are historical figures. Attila (date of birth unknown) received supreme power over the Huns in 433, which he shared with his brother for 12 years. By killing him, he became the sole ruler of a huge state, wrested from the decrepit Roman Empire. Not only the Huns, but also a union of tribes, which included, in particular, the Germans and Khazars, voluntarily submitted to Attila. Outwardly, Attila was far from attractive: squat, dense, with a dark complexion, a flat nose, small, deep-set eyes and a sparse beard. However, he was stern and imposing in appearance. Having wooed the sister of the Western Roman Emperor Valentinian III and was refused, Attila walked through all of Germany, moved to Gaul and in 451, at the head of a 500,000-strong army, encountered a united Christian army on the Catalaunian fields, where he was defeated. The following year, Attila entered Italy, destroyed Aquileia, captured many cities and threatened the destruction of Rome. However, he stopped his victorious march, entered into negotiations with Pope Leo I, and he bought peace for a lot of money. This event is depicted in Raphael's frescoes in the Vatican. In 453, Attila died on his wedding night with the Burgundian Ildiko - either from a heart attack, or from the hand of his young wife, who avenged the death of her relatives and the humiliation of her people.

Another historical figure of the opera is the invincible hero of the Western Roman Empire approaching the collapse of Aetius, nicknamed the last Roman and the shield of Rome (date of birth ranges between 390 and 395-396, date of death - 454 or 456). Enlisted in the imperial guard from a young age, Aetius was a hostage for several years, first with the Goths, then with the Huns. In 425, he became the commander-in-chief under the young Emperor Valentinian III and until his death - the de facto ruler of the state, showing himself to be a victorious commander and a deft diplomat. Aetius maintained peace with the Huns for a long time, but in 451, having united many barbarian tribes under his rule, he opposed Attila and defeated his countless army on the Catalaunian fields. He was also an opponent of Attila during his campaign against Italy in 452. After the conclusion of peace and the death of the Hun leader, Valentinian, fearing the power of Aetius, ordered his death during an audience in the imperial palace.

The images of these heroes were repeatedly embodied in tragedies and operas of the 18th century, including Handel and Gluck. Beethoven also expressed a desire to write an opera on a similar plot. In 1808, the German poet Tsacharias Werner (1766-1823) composed the tragedy Attila, King of the Huns. The works of Werner, the creator of the new genre of “tragedy of fate,” were marked by vivid theatrical effects, filled with mysterious prophecies and premonitions, fatal dates affirming the inevitability of fate, mysterious characters from the world of spirits and historical, mainly medieval, heroes. Werner's work enjoyed wide popularity among the German public; Goethe himself supported him, thanks to which Attila was immediately staged in various theaters in Germany.

Verdi became acquainted with the play in 1844, having read about it in the book “On Germany” by the French writer of the early 19th century Madame de Stael. The composer, in his own words, found in the tragedy “magnificent and very impressive things,” wonderful choruses and “three excellent characters.” This is Attila - an image that “does not allow any changes”; Idelgonda is the historical Ildiko, who later received the Italian name Odabella in the opera; Aetius - “he is magnificent and I like him in the duet with Attila, when he proposes to divide the world between the two of them... It would be necessary to come up with a fourth effective character.” This, according to Verdi, could be Idelgonda’s fiancé Walter, later also called by the Italian name Foresto. The composer was also greatly impressed by the scene with Pope Leo: he is on the Aventine Hill, one of the seven hills of Rome, while a battle is taking place below. Verdi had a presentiment that this scene would be banned by the censors, and was thinking about “how to disguise everything so that permission for this scene would be given, to disguise it, without, however, changing anything essentially.” He was also not happy with the early death of Aetius: he, along with the heroine and her fiancé, had to take part in a conspiracy against Attila (as a result, in the opera, Aetius, in accordance with history, remains alive until Attila’s death). The composer was interested in everything: the era, the setting, the peculiarities of the German spirit. He even asked a sculptor he knew to send him a sketch of Attila’s costume in Raphael’s fresco and indicate the colors of the robe, paying special attention to the headdress.

As the librettist of Attila, Verdi chose Francesco Maria Piave (1810-1876), whom he met while working on Ernani. A month after the premiere of Ernani, on April 12, 1844, the composer sent Piave a copy of Werner’s tragedy, recommending that he also carefully read “On Germany.” However, work on Atgila did not begin immediately. First, Piave wrote the libretto for the opera “The Two Foscari” based on Byron, staged in the same 1844. Then Verdi turned to Solera, his first librettist, the author of Nebuchadnezzar and The Lombards, and with him created Joan of Arc, which premiered at the beginning of 1845. Another opera was staged in August, and only in the middle September, the composer, who returned to Milan, began composing "Attila". The text, written by Piave, he now handed over to Temistocles Soler (1815 - 1878), the author of poems, novels and even operas, whom he valued for his knowledge of the theater. However, "Attila" turned out to be their the last (fifth) joint, and also unfinished, work.Protesting against the alterations required by Verdi, Solera suddenly left for Barcelona, and the composer with difficulty received back the unfinished libretto in order to hand it over to Piave again.

In October 1845, a contract was signed with the Venetian theater La Fenice for the production of Attila, which promised to become exemplary. Rehearsals began in December, interrupted due to a change of librettist. The composer spent the entire month of January in bed due to illness. Finally, on March 17, 1846, the premiere took place at the Teatro La Fenice. According to Verdi, Attila “On the whole went well. The applause and challenges were even too much for the poor patient. ... My friends are inclined to consider this opera the best I have written. There is controversy in the public. I’m saying that Attila is no weaker than my previous operas: time will judge.” The production sparked patriotic demonstrations. The medieval story about the struggle of Italians with barbarians, calls to take up arms and destroy tyranny, and the willingness to give their lives for the freedom of their homeland evoked a strong response in Italy, fragmented and oppressed by foreigners on the eve of the 1848 revolution. Aetius’s phrase in a duet with Attila “Take the universe for yourself, leave Italy to me” was accompanied by cries from the audience: “For us, for us Italy!”

Plot

Square in Aquileia. The night is ending. The torchlight reveals ruins and traces of a fire that raged for four days. Attila's warriors celebrate the victory, which opened to them a blessed land similar to Valhalla, the home of the supreme god Wodan. Attila approaches on a chariot drawn by slaves and sits on a throne of shields and spears. He is struck by the beauty and courage of the captive Odabella, who speaks of the courage of the women of Italy, always ready to fight the enemy, and demands that the sword be returned to her. Attila gives her his, and she sees this as a sign of fate: the hour of revenge will soon strike. Having met with Aetius, the defender of Rome and a worthy opponent of the king of the Huns, Attila rejects his proposal of an alliance, according to which Aetius would give the whole world into the hands of Attila, leaving only Italy for himself. The scourge of God, Attila, threatens to scatter vain Rome to the wind.

Rio Alto on the Adriatic lagoon. Several huts on stilts connected by boat bridges; stone altar dedicated to Saint James; A bell mounted on a wooden beam greets the coming morning with a slow ringing. The clouds clear and the rising sun floods the sparkling azure horizon with light. Several hermits praise the Lord, who pacified the night storm at sea. The inhabitants of Aquileia who escaped from Attila also praise the Creator. The exiles, led by Foresto, who mourns Odabella, whom he considers dead, leave the boat to begin a new life under the shadow of this altar: here their homeland will be reborn, like a phoenix from the ashes.

Forest near Attila's camp. Night; moonlight is reflected in the waters of the stream. Odabella, in tears, sees the dear dead - her father and groom - in a flying cloud. Suddenly Foresto appears in front of her. He accuses his beloved of betrayal. She begs to kill her, but not to curse her: Odabella, like Judith, who saved Israel by defeating Holofernes, vowed to avenge the fallen, and the tyrant himself put a sword in her hands. The lovers rush into each other's arms.

Attila's tent. He sleeps on a low eastern bed, covered with a tiger skin. Suddenly, overcome with horror, Attila jumps up. In front of him is the gigantic figure of an old man, stopping him at the gates of Rome: the land where the Lord rules is closed to the scourge of God. Attila calls the druids and leaders, he is ready to fight both the ghost and the whole world. The leaders gather and praise Wodan. Suddenly completely different sounds are heard. Slave Uldino lifts the tent flap, and Roman maidens and boys in white robes with palm branches in their hands are seen descending from the hills surrounding the Huns’ camp, preceded by Leo and six elders. Attila recognizes the old man from a night vision and hears the same fatal words from his lips. The king yields to God. His warriors are amazed: what kind of force first made the king of the Huns beg for mercy?

Camp Aetius; in the distance is a great city on seven hills. The victorious commander recalls the former glory of Rome, now under the rule of the insignificant Caesar, the youth Valentinian. Attila's messengers call Aetius to a feast. One of them (Foresto) warns the commander that today the barbarian king will fall, which will be announced by the fires lit on the mountain. Then the Romans must rise to win freedom. Aetius rejoices: let his fate be fulfilled, and if he falls in battle, all of Italy will mourn him - the last Roman.

Attila's camp in the forest. The night is lit by hundreds of torches set in huge oak stumps. Everything is ready for the feast. Warriors glorify Attila's conquests. He appears accompanied by druids, priestesses and military leaders and takes a place of honor. Near him is Odabella in an Amazon costume. Preceded by Uldino, Aetius appears with the Romans to the sound of a trumpet, Agila greets the noble enemy. The Druids warn the king that fatal omens have appeared in the skies and mountains. He drives the soothsayers away - let the priestesses decorate the feast with a cheerful song. Suddenly a strong gust of wind extinguishes the lights. Everyone rises, overcome with horror. Foresto hurries to Odabella, they are preparing to carry out a plan of revenge. Attila is not afraid, but is filled with anger and rage. A thunderstorm has passed, and he orders the torches to be lit again and the feast to continue. He is ready to drink the cup given by Uldino to the glory of Wodan, but Odabella holds him back: there is poison in the cup! Foresto boldly admits to the attempt on the king's life and draws his sword. Odabella asks to give her the prisoner as a reward for the rescue. The king agrees: after all, tomorrow she will become his wife. And let Rome prepare for battle: the scourge of God has awakened from its sleep.

Forest between the camps of Attila and Aetius. Morning. Here Foresto is waiting for Uldino, who is also ready to take revenge on the king of the Huns. He will give the signal for Aetius to speak when Attila and his young wife retire to the tent. Foresto is unable to forget Odabella: she is like angels, although evil lurks in her chest. Festive singing can be heard from Attila's camp - it is Odabella being led into the king's tent. She runs, driving away the ghost of her father who is pursuing her, and suddenly appears before Foresto in a wedding dress and crown. The young man refuses to believe that Odabella loves only him. Aetius calls to forget about jealousy and grief - the time has come for struggle. Attila appears. He is amazed to see his beloved among the enemies with whom he was generous. He made her, a slave, his wife, Foresto, a traitor, gave life, Aetius, a Roman, saved for Rome. And they all conspired against him. But Odabella, near the marital bed, sees the bloody shadow of her father; Foresto does not need a life without a homeland and a lover; and let the city of Aetius be saved - Rome is despised by the world, for it invited the bloody vengeance of Attila. Hearing the victorious cries of the approaching Roman soldiers, Odabella throws away the crown and strikes Attila, sacrificing him to his father's shadow. Everyone rejoices: God and the peoples conquered by Attila have been avenged.

Music

"Attila" is a heroic-patriotic opera. Extensive crowd scenes, extended finales (quintets with a choir), spectacular arias, energetic, often marching rhythms, catchy melodies in the absence of psychological depth and subtlety - these are its characteristic features.

Among the brilliant arias is Odabella’s heroic cavatina “When the brave ones run” from the 1st scene of the prologue, full of high notes, virtuoso passages and cadenzas. The following duet between Aetius and Attila is a superb example of the early Verdi style with energetic themes of a wide range and dotted rhythm. Such is the famous phrase of Aetius “Take the universe for yourself, only Italy, leave only Italy to me.” The 2nd scene begins with a colorful orchestral episode, separated by unison basses in the spirit of a medieval chorale: a raging night thunderstorm gives way to morning peace. The scene that opens the 1st scene of Act I and Odabella’s romance “In this flying cloud” is one of the rare lyrical episodes with a finely detailed orchestral sound. The scene and aria of Attila at the beginning of the 2nd scene “I dreamed that while the soul soars” with its embossed sparkling themes is the best number of the opera. In the dramatic finale, the warlike choir of the Huns is opposed by the enlightened a cappella chorale of the young Romans and the thunderous curse of Saint Leo “You are called the Scourge of God”; Attila's abrupt, confused remarks are contrasted with the broad chanting phrases of the quartet and choir.

A. Koenigsberg

After the relative failure of the production of Alzira, Verdi returned to Milan and began work on a new opera, commissioned from the Venetian theater La Fenice. The composer was fascinated by Friedrich Ludwig Werner's tragedy "Attila", which had occupied him for more than two years. The process of work, the maturation of the idea, is of great interest, although the opera did not become an outstanding phenomenon in the composer’s work. The initiative in creating the script belongs to the composer. He accurately outlines the most important key moments, and pictures of some scenes appear before him. As always, he is interested in historical accuracy and not only the behavior of the characters, but also the accuracy of all the details of the era. Some ideas outlined in the plans are not embodied in the final version. Verdi wrote a detailed letter to Piave dated April 12, 1844, where he indicated the plan for the future opera: “I am of the opinion to make a prologue and three acts. It is necessary to raise the curtain and show the burning of Aquileia, the choir of the people and the choir of the Huns. The people pray, the Huns threaten, etc., etc... Then the entrance of Ildegonda (in the opera Odabella - A.P.), then Attila, etc., etc.... the prologue ends.

I would begin the first act in Rome and, instead of showing the feast on stage, I would move it behind the scenes, and on stage I would leave Aetius alone, thoughtfully reflecting on the events taking place, etc., etc. .

Would have ended the first act at the moment when Hildegonde warns Attila that the cup from which he wants to drink is poisoned, this makes Attila believe in Hildegonde's love, when in fact it only provides the opportunity to personally avenge the death of his father and brothers etc. etc.

In the third act, the scene when the Lion is on the Aventine Hill while the battle is taking place below would have made a huge impression...

...The main thing is to read “Germany” by de Stael, which will explain a lot to you. (...) I recommend that first of all you carefully study the attached plot and keep everything firmly in your head: the era, the characters, etc., etc.... Read Werner and, in particular, read the choruses, which are wonderful.”

The composer’s insistence that Piave read de Staël’s book “On Germany” was due to the fact that the work of the French writer raised a topic that was relevant for Italy about the rights of every people to political and spiritual independence.

Absorbed in work, trying to create the most complete and reliable image of the main character, Verdi, in a letter dated February 11, 1846, asks his friend Luccardi, professor of sculpture at the Academy of St. Luke in Rome to describe to him the costume of Attila in the fresco of Raphael in the Vatican: “I know that in the Vatican - either on the tapestries, or in the frescoes of Raphael - there must be a meeting of Attila with St. Leo. I would need a costume of Attila: so make it for me two strokes with a pen, and then indicate to me in words and numbers the colors of the robe: I am mainly interested in the headdress..."

Perhaps Piave’s work did not suit the composer in some way, since he transfers the libretto to Solera, who had significant experience in creating heroic and patriotic texts - “Nabucco”, “Lombards”, “Joan of Arc”. However, Solera, who worked without particular enthusiasm, in the end he abandoned the unfinished manuscript altogether and left for Spain. The libretto again ended up with Piave, to whom the main credit for creating the final text belongs. The opera “Attila” develops patriotic ideas associated with the liberation of Italy, it continues the line “ Joan of Arc. At the same time, in this opera for the first time the theme of fate, which predetermines the death of the main character, was heard with such force.

Many discoveries in the dramaturgy and musical language of “Attila” are of particular interest, since after this opera “Macbeth” was created, and these operas are directly related. The best achievements of Attila will be implemented in Macbeth. For example, the scene of the appearance of Banquo's ghost is prepared by a similar scene in Attila. A number of other achievements of Attila will be used in Macbeth. The magnificent thunderstorm scene from the prologue, with its dramatic orchestral coloring, will have a direct impact on scenes associated with otherworldly forces. Attila's narrative scene from Act I anticipates the duet between Macbeth and Lady Macbeth from Act II. The action takes place at night, and Verdi, in order to give more naturalness to the situation and create an atmosphere of fear and mystery, in both cases writes “p” and sotto voce, indicating only key words with accents.

The opera "Attila" turned out to be a very uneven work. Places of stunning power and depth, anticipating new operas, closely coexist with episodes of rather banal and sometimes crude music. The most talented scenes reveal the world of feelings and experiences of the main characters and, especially, Attila.

An important role in the opera belongs to tragic themes associated with Attila's fate: the theme of fate and the theme of curse.

The theme of fate first appears in the introduction. The mysterious (remark piano sotto voce) melody runs in different keys, in imitation. Twice Attila's theme is interrupted by the striking of diminished introductory chords, which are repeated ten times. After this, the theme takes on a pronounced tone of suffering, emphasized by the second low step in the melody.

The theme of Attila's fate will remind itself in the second act, in the scene of the feast at the king of the Huns. The priests of Wotan warn Attila of the impending danger. The unison chorus of priests is built on the theme of Attila's fate.

Another dramatically important theme is the theme of the curse of Attila by Pope Leo, who was later canonized. The curse theme that opens Attila's dream scene first appears in the first act. It also sounds at the moment when Attila, awakened in fear, tells his squire about the terrible prediction. At the end of the first act, when the barbarians, full of determination, are preparing to inflict a final defeat on Rome, the theme of the curse sounds for the third time, warning Attila against a rash step. Among the best episodes of the opera is the symphonic fragment depicting a thunderstorm and sunrise in the second scene of the prologue. Pictures of nature are not often found in Verdi's works, and where they exist, they are of a generalized dramatic nature. In this episode, Verdi demonstrates his coloristic skill, who managed to find romantic orchestral colors that convey the picture of dawn after a thunderstorm.

From Verdi's letter to Piave it is not difficult to conclude that the composer intended to use many contrasts in the opera: “The choir of the people and the choir of the Huns, the people pray, the Huns threaten, etc., etc...”

One of the brightest contrasts of the opera is in the finale of the first act, here the frantic, riotous choir of the nomads, accompanied by the rumbling sound of brass in the orchestra, and the sublime chorale of the captives, prayerful sounds coming from afar, are effectively contrasted. The second contrast in this scene is the juxtaposition of the nomadic chorus and the alarming remarks of Attila, who remembered the night vision. The theme of the curse runs through the orchestra.

The finale of Act II is no less dramatic - the feast scene, in the midst of which the torches go out and complete darkness sets in. The recent joy is replaced by complete stupor. The numb ensemble combines the parts of all the actors and the choir.

The premiere of “Attila” took place on March 17, 1846 at the Venetian theater “La Fenice” and was a huge success, in which the patriotic plot played a significant role (Ezio’s phrase from the prologue addressed to Attila became a textbook: “Take for yourself at least the whole world - only Italy leave it to me."). Verdi was very pleased with the new brainchild, and was even going to dedicate “Attila” to his father-in-law and benefactor Barezzi, as his best work, but a little later this choice would fall to “Macbeth”.

The most famous operas in the world. Original title, author and brief description.

Attila, G. Verdi.

Lyrical drama in 3 acts with prologue; libretto by T. Soler and F. Piave based on the tragedy by Z. Werner.
First production: Venice, Teatro La Fenice, March 17, 1846

Characters: Attila (bass), leader of the Huns; Odabella (soprano) daughter of the ruler of Aquileia; Foresto (tenor), officer of Aquileia; Ezio (baritone), Roman general; Uldino (tenor), Attila's squire; Leone (bass), old Roman.

The action takes place in Aquileia and near Rome in 434-453.

Prologue. Picture one. Ruins of the Roman city of Aquileia, captured by the Huns. The Huns glorify their leader Attila. He appears in a palanquin. Attila's slave Uldino brings to his master captured Roman girls who fought alongside their fathers, brothers and suitors. Serid of the captives is the daughter of the ruler of Aquileia, Odabella, who fell on the battlefield. The girl is convinced that her fiancé, Foresto, also died. Odabella proudly declares to Attila that she is ready to share the fate of her compatriots who defended their homeland. Attila admires the girl’s courage and is captivated by her beauty. He is ready to fulfill any of her wishes. Odabella asks for the sword to be returned to her. The leader of the Huns hands her his. With a sword in his hands, Odabella swears to take revenge on the enemies who are ravaging Italy and bringing so much grief to its people. Attila forgives her insolence. He feels that love for the brave and beautiful foreigner has been kindled in his heart. Attila is informed of the arrival of the Roman ambassador - commander Ezio. The leader of the Huns kindly receives him. Ezio is full of vanity and offers the Huns to enter into an alliance on the condition that Italy goes to him. The fierce leader of the Huns refuses - he will be able to conquer not only Italy, but also become the ruler of the whole world.

Picture two. Lagoon on the Adriatic Sea coast. Here, in hastily constructed huts, Roman refugees fleeing the Huns huddle. This is the place where the “new Rome” - Venice - will later be built. The hermits who sheltered the Romans urge them to seek consolation in prayers. A boat approaches the shore, and their leader, Foresto, Odabella’s fiancé, who miraculously survived, comes out. He indulges in thoughts about the fate of Italy, about the sad fate of Odabella, who was captured. However, the young man believes that the hated Attila and his hordes will be expelled.

Act one. Picture one. Forest not far from the Huns' camp. Odabella appears. Looking at the moon, she plunges into sad memories of the death of her father and mourns her groom. Foresto appears in front of her dressed as a Hun. Finally he found his beloved. But now, having discovered her in the lair of her enemies, Foresto is gripped by suspicion. The girl quickly disperses them and reveals to Foresto her plan of revenge. She, taking advantage of Attila's location, will kill the leader of the Huns.

Picture two. Attila's camp. The Lord of the Huns awakens in his tent, guarded by the faithful Uldino. He is under the impression of an ominous dream: an old man of enormous stature is blocking the Huns’ path to Rome. The superstitious Attila is confused. However, a formidable warning from fate cannot shake him. Having mastered himself, he gives the order to prepare for the attack. Voices are heard from afar. In the camp, accompanied by children and young girls singing a Christian hymn, the old Roman Leon, the high priest of the Christians, appears. In him, Attila recognizes with horror the old man he dreamed of. Leon convinces Attila to abandon the campaign against Rome. This city is holy, and heaven itself protects it. Attila cancels the order to attack.

Act two. Picture one. Camp of Roman soldiers. In the distance are the seven hills of Rome. Ezio reads a message from Emperor Valentine, in which he calls him to Rome for a period of truce with the Huns. Vanity and ambitious dreams of becoming the ruler of the Roman Empire haunt Ezio. The Huns' ambassadors arrive. Among them is Foresto in disguise. Left alone with Ezio, Foresto reports that tonight the leader of the Huns will be poisoned - the Roman soldiers must be prepared to suddenly attack the enemy camp.

Picture two. Feast in Attila's camp. Attila warmly welcomes Ezio, not paying attention to the warnings of the old men that a stranger at the feast brings misfortune. A gust of wind extinguishes the torches. In the dark, Foresto tells Odabella that poison has been added to Attila's cup. However, Odabella, not wanting to cede his right to revenge to anyone else, warns Attila about the assassination attempt. Foresto furiously admits that it was he who tried to poison Attila. Odabella asks the leader of the Huns to let her decide the fate of the culprit herself. Attila agrees and declares that Odabella will become his wife tomorrow, and then he will lead his troops to Rome. Taking advantage of the general jubilation, the girl tells Foresto to run.

Act three. The forest separating Attila's camp and the camp of the Roman soldiers. Foresto is waiting for Attila's servant, Uldino. He reports that the wedding of Attila and Odabella is about to take place. Foresto is furious - he is convinced of his beloved’s betrayal. Ezio advises him to think only about the upcoming battle. Odabella runs in. She managed to disappear unnoticed from the wedding tent. Foresto reproaches her for treason. The girl tries to convince him that agreeing to marry Attila is a maneuver to take revenge on the murderer of her father and the enslaver of her homeland. Suddenly Attila appears. He is outraged to see Odabella in the company of Foresto and Ezio. Warlike cries are heard - the Romans have begun an attack on the Huns. Foresto takes out a dagger and rushes at the confused Attila. But Odabella gets ahead of him, plunging his dagger into the enemy’s chest with the words: “My father, I sacrifice him to you!” Roman soldiers come running from all sides. Victory over foreign invaders has been achieved.

The famous opera “Attila” by G. Verdi will be presented to the public at the Milan theater. The viewer's interest in this fascinating performance has not disappeared for several centuries. The story, described in the work of the German playwright Werner, was revised by librettists Piave and Soler. Two directors worked on the modern production: Jerome Savary and Christopher Swann. Everyone will be able to see the performance “Attila” on December 7, and this magical performance will last until January 8, 2019.

"Attila": a heroic-patriotic opera about justice and love for the motherland

The opera "Attila" at La Scala tells the story of how the people living on the Adriatic coast tried to capture and enslave a horde of Huns led by the warrior Attila. They plunder, destroy, rape and kill the proud Romans. The entire population joins the fight against the barbarians, including women who fight fearlessly, standing shoulder to shoulder next to their husbands.

One of them is the daughter of the ruler Odabella. Attila is captivated by her beauty and fearlessness. He gives the girl his sword, showing a sign of respect and wanting to bribe the proud ruler with such attention. But pride is in the blood of the Romans and they want with all their might to stop the destructive horde. Odabella helps the Roman general Ezio and distracts Attila by agreeing to become his bride. During the wedding, Roman troops surround the camp, and a battle ensues, during which Odabella stabs the barbarian enslaver with his own sword, given to her.

Opera "Attila" by Giuseppe Verdi

The opera Attila is one of 28 operas written by Verdi. Like other works, it was written with the composer’s maximum dedication and careful attention to the libretto and characters. Verdi was not afraid to “shred” the plot, removing unimportant scenes and characters that, in his opinion, did not attract one hundred percent of the viewer’s attention.

The opera “Attila” turned out to be colorful with a large number of powerful choral scenes, bright mass battles, bewitching music that perfectly conveys what is happening on stage. This performance was first shown in Venice in the spring of 1846. The audience, without looking away, looked at the stage, empathized with the heroes and admired the beauty of what was happening. The opera “Attila” was not presented in Moscow, but the capital’s public and residents of St. Petersburg could hear parts from this famous work at the Mariinsky Theater and at the House of Music as part of opera concerts.

Tickets for the opera "Attila"

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Book tickets for “Attila” now to see with your own eyes the production that the whole world knows and loves, and to enjoy the magnificent acting and beautiful music of Verdi.

Giuseppe Fortunino Francesco Verdi is a famous Italian composer of the 19th century.

Throughout his career as a composer, he created 28 operas and one requiem. His work is the greatest achievement of opera throughout the world. We can say that the composer was born in order to create masterpieces of Italian opera. There would not be a single person on earth who has not heard about such operas as “Un Ballo in Masquerade”, “Rigoletto”, “La Traviata”, “Aida”, “Othello”, etc.

Verdi always approached his work with trepidation. For example, I personally searched for a plot for the libretto, urging the librettist to remove unnecessary details and unnecessary characters from the plot, leaving only the most filling scenes. Such fruitful cooperation gave birth to the opera Attila. The libretto for it was written by the Italian librettist, writer and composer Temistocle Solera. It must be said that this alliance with Verdi lasted for many years and Solera wrote many librettos for the great composer’s operas.

You can listen to the opera for free online on our Orpheus club website.

The opera "Attila" is a patriotic opera in three acts. It is based on the struggle of the peoples living on the Adriatic coast with invaders based on the play “Attila, King of the Huns” by the German playwright Zacharias Werner.

In the prologue, the conquering troops led by Attila invade the Adriatic. A wave of destruction, robberies and outrages is sweeping across the country. Barbarians plunder settlements, kill civilians and capture those who resist. Among the prisoners there are a lot of women who fought for their country on an equal basis with men. Attila, amazed by the courage of the women, gives one of the captives, the daughter of the ruler of the conquered territory, Odabella, his sword. He thinks that by showing such a sign of attention, he will bribe the enemy. The hardest thing for the groom is Foresto, he miraculously escaped captivity and watches everything that happens behind a shelter. But for now he can’t do anything and understands that he can do more good in freedom.

The first act takes the audience to Attila's camp. Barbarian has a terrible dream about his death. Waking up in horror, he prepares his troops for a further attack. There is no peace for him in this country, where the hatred towards him is so great. And for good reason. Odabelle plots to kill the enemy with his own sword and repeat the feat of Judith. HER fiancé, Forest, who secretly made his way into the enemy camp, is trying to dissuade her. He swears his eternal love to her and convinces her that he will do everything himself. But the girl is sure of the opposite - she is closer to the enemy than anyone else. Other prisoners sing rebel songs all night, showing their rebellion. And this makes the souls of the conquerors even heavier and the anxiety only grows.

Summary of the second act: in the hope that wine can drown out the anxiety, Attila organizes a feast in his camp. He is very pleased with himself, because Odabella just saved his life by preventing him from drinking the poisoned wine that Foresto presented him in a cup. Thinking that he had pacified the prisoners, the barbarian wanted to drain the glass in one gulp, but the girl dissuaded him. Realizing that the wine was poisoned, he wanted to kill the young man, but his savior begged him not to use force against the prisoners. The leader calmed down a little and decided to marry Odabella. He ordered everything to be prepared for the wedding and the fun to continue.

In the third final act, the Roman general Ezio sends his troops to surround Attila's camp, it's time to put an end to this uncontrollable horde. He himself remains in his camp, next to him is Foresto, who talks about all the events. Suddenly Odabella makes her way towards them. She ran away from her wedding and is looking for her beloved to explain everything to him. Attila runs in pursuing his bride. Realizing that a conspiracy is being hatched against him, he rushes at Odabella. Without thinking twice, the girl pulls out a sword and pierces the tyrant. He dies, and at this time the Roman troops set up the conquering camp.

On March 17, 1846, this opera was heard for the first time in Venice. The La Fenice Theater was crowded with spectators. The opera's gripping plot, precisely composed self-portraits of the main characters, and stunning arias were magnificent. And all this, in harmony with the beautiful music, captivated the audience and forced them to look at the stage without stopping and empathize with the characters of the opera. Reviews from critics were not positive. The fact is that at that time Venice was part of the Austrian Empire, and this is what gave the opera a political subtext that could easily be “read between the lines.” But, despite this, the opera “Attilo” is loved by connoisseurs of true art, and this is the main thing.

You can listen to the most famous arias from the opera “Attilo” online for free on the Orpheus club website.

“Scourge of God”, “furious boar” - such nicknames, in which horror is mixed with admiration, were awarded by contemporaries to Attila, the leader of the Huns. The name of this conqueror alone inspired fear, and the power created by his military force extended from the Rhine to the Volga. The circumstances of his death are shrouded in mystery - having defeated the Burgundian power, he died on his marriage bed with the Burgundian girl Ildiko. Perhaps this happened due to natural reasons (after all, Attila was no longer young), but the legend connected the death of the cruel leader with the revenge of Ildiko - and this is seen as a cruel mockery of fate: the great warrior, whom no man could defeat on the battlefield, accepted death at the hands of a woman.

The personality of Attila underwent artistic interpretation back in the Middle Ages - he turned into one of the heroes of the epic of the Nibulengs under the name of Atli (Etzel). Dante Alighieri brought him out in The Divine Comedy in one of the circles of Hell. And, of course, writers of the Romantic era could not ignore such a bright personality. The German poet Zacharias Werner created the tragedy “Attila, King of the Huns” in 1808 - and in 1844 it attracted attention. The composer did not immediately become acquainted with it directly - he first read about this play in Madame de Stael’s book “On Germany”. Having read the tragedy, Verdi thought about it as a possible plot for an opera, but this plan was not realized immediately: “The Two Foscari”, “Alzira”, “Joan of Arc” were created, and only in 1845 did Verdi conclude with the Venetian La Fenice Theater contract for Attila.

In Verdi's opera - as in Werner's tragedy - historical facts are intricately intertwined with artistic fiction. Almost all the heroes - except Foresto (the heroine's lover) and Uldino (Attila's slave) - have historical prototypes. In the image of Idelgonda, who received the name Odabella in the opera, one can discern the figure of Ildiko, but here she is not a Burgundian, but an Italian - the daughter of the governor of Aquileia. Attila really ravaged this Italian city in 452 and threatened Rome, but Pope Leo I managed to keep the conqueror from attacking Rome by paying a huge sum (Leo I - Bishop of Leone - is also present in the opera, but his negotiations with Attila look more majestic) . And finally, the third historical figure depicted in the opera is Flavius Aetius (Ezio), a commander known as the “last Roman”, who fought against Attila, not without success.

The opera begins in the ruined Aquileia, where the barbarians, led by Attila, celebrate their victory. However, the inhabitants of Aquileia are defeated, but not broken - and the conqueror is convinced of this when the beautiful captive Odabella appears before him. The beauty's angry speech delights the commander so much that he presents her with his own sword. Odabella sees this as a sign of fate - she will have to take revenge. During negotiations, the Roman military leader Ezio offers Attila a deal: let the Hun take the whole world for himself - but let him give up Italy, but the leader rejects his offer, anticipating the capture of Rome. Meanwhile, the surviving residents of Aquileia find shelter in a hermit settlement on the shore of the lagoon. Among them is Foresto, Odabella's lover. He believes that his bride is no longer alive, and now he can only hope that his people will be reborn from the ashes under the shadow of the sacred altar.

Odabella also believes that Foresto is dead. She tries to discern his image in the clouds when her lover, who had infiltrated Attila’s camp, appears before her, accusing the girl of treason. Odabella reminds him of the act of Judith, who seduced King Holofernes and killed him on his bed for the salvation of her people - Odabella intends to do the same with Attila. Meanwhile, the leader of the Huns is no longer so confident in the success of the campaign against Rome: in a nightmare, a majestic old man appears to him, blocking the path to the city. Suddenly, the elder actually appears in the camp, at the head of a procession of women and children carrying palm branches - this is the Roman Bishop Leone. To the great surprise of his warriors, Attila retreats before him - or rather, before God, on whose behalf Leone speaks.

Ezio, invited to a feast by Attila, conspires with Foresto: at the feast the conqueror will be poisoned, after which the Romans will attack the barbarians. At the last moment, Odabella warns the leader that the wine in the cup Foresto brought to him is poisoned - not because she managed to fall in love with the enemy, but because she does not want to cede the right of revenge to anyone. Attila announces that he will marry her tomorrow. At the request of the bride, he gives life to Foresto. During Attila's wedding to Odabella, the Romans attack the Huns' camp and Odabella kills Attila.

“Attila” is one of those operas by Verdi in which contemporaries saw the motives of the liberation struggle. The music is full of passion and heroic pathos, which determines the complexity of the vocal parts. Each of the four heroes is given an extended heroic aria, culminating in the final quartet in which these strong characters converge.

The birth of the opera was not easy. Francesco Maria Piave began working on the libretto, Temistocle Solera continued, but he did not agree to the changes demanded by the composer, and Verdi again handed over the libretto to Piave. Despite these difficulties, the opera was completed and staged in Venice in March 1846 with great success.

The Russian premiere took place three years later in Odessa. In St. Petersburg, the opera “Attila” was staged only in the 21st century - in 2010 it was presented by the Mariinsky Theater.