EN
DE
IT
FR
ES
RU
JP
RO
© Teatro di San Carlo
Attila
Order tickets
 March 2030 | ||||||
|---|---|---|---|---|---|---|
Mo | Tu | We | Th | Fr | Sa | Su |
Performed in concert version
Lyric drama in a prologue and three acts
Music by Giuseppe Verdi
Libretto by Temistocle Solera and Francesco Maria Piave, after the tragedy Attila, König der Hunnen by Zacharias Werner
Synopsis
Time: Mid-5th century (it was in 452 that the historical Attila destroyed the city of Aquileia)
Place: Aquileia, the Adriatic lagoons, and near Rome[
Prologue
Scene 1: The ruined city of Aquileia
Attila and his victorious horde have destroyed the city of Aquileia (Urli, rapine / "Shouts, pillage"). They are surprised to see a group of women spared as prisoners of war (Di vergini straniere / "Ah, what is this group"). Their leader, Odabella, asks why the Huns' women remain at home (Allor che i forti corrono / "While your warriors rush to their swords like lions"). Attila, impressed by her courage, offers a boon and she asks for her sword, with which she intends to avenge the death of her father at Attila's own hand (Da te questo or m'è concesso / "O sublime, divine justice by thee is this now granted"). After she leaves, the Roman envoy Ezio asks for an audience and proposes a division of the empire (Avrai tu l'universo, Resti l'Italia a me / "You may have the universe, but let Italy remain mine"). Attila disdainfully calls him a traitor to his country.
Scene 2: A swamp, the future site of Venice
A boat bearing Foresto and other survivors arrives. He thinks of the captive Odabella (Ella in poter del barbaro / "She is in the barbarian's power!") but then rouses himself and the others to begin building a new city (Cara patria già madre e reina / "Dear homeland, at once mother and queen of powerful, generous sons").
Act 1
Scene 1: Some weeks later. A wood near Attila's camp, near Rome
Odabella laments her late father and (believing him to be dead) also her lover Foresto (Oh! Nel fuggente nuvolo / "O father, is your image not imprinted on the fleeting clouds?..."). When he appears, she is put on the defensive, denying any infidelity and reminding him of the biblical Judith. The couple is reunited: Oh, t'inebria nell'amplesso / "O vast joy without measure".
Scene 2: Attila's tent
Attila awakes and tells Uldino of a dream in which an old man stopped him at the gates of Rome and warned him to turn back (Mentre gonfiarsi l'anima parea / "As my soul seemed to swell"). In the daylight, his courage returns and he orders a march (Oltre a quel limite, t'attendo, o spettro / "Beyond that boundary I await you, O ghost!"). However, when a procession of maidens clad in white approaches, singing the Veni Creator Spiritus prayer (Vieni. Le menti visita / "Come, visit our minds"), he recognizes the Roman bishop Leo as the old man of his dream and collapses in terror.
Act 2
Scene 1: Ezio's camp
Ezio has been recalled after a peace has been concluded. He contrasts Rome's past glory with the current child emperor Valentine (Dagl'immortali vertici / "From the splendid immortal peaks of former glory"). Recognizing the incognito Foresto among the bearers of an invitation to a banquet with Attila, he agrees to join forces with him (È gettata la mia sorte, son pronto ad ogni guerra / "My lot is cast, I am prepared for any warfare" ).
Scene 2: Attila's banquet
Foresto's plot to have Uldino poison Attila is foiled by Odabella, jealous of her own revenge. A grateful (and unsuspecting) Attila declares she shall be his wife, and places the unmasked Foresto in her custody.
Act 3
The forest
Uldino informs Foresto about the plans for the wedding of Odabella and Attila; Foresto laments Odabella's apparent betrayal (Che non avrebbe il misero / "What would that wretched man not have offered for Odabella"). Ezio arrives with a plan to ambush the Huns; when Odabella comes Foresto accuses her of treachery, but she pleads for his trust (Te sol quest'anima / "Foresto, my soul belongs to you"). Attila finds the three together and realizes he has been betrayed. As Roman soldiers approach, Odabella stabs him with the sword he had given her. The three conspirators cry that the people have been avenged.
Program and cast
Sung in Italian, with Italian and English surtitles
Running time: approx. 2 hours, with interval
Conductor | Diego Ceretta
Cast
Attila, King of the Hunnes | Ildar Abdrazakov
Ezio, Roman general | Ernesto Petti
Odabella, daughter of the ruler of Aquileja | Sondra Radvanovsky
Foresto, Aquileian knight | Luciano Ganci
Uldino, a young Breton, Attila’s slave | Francesco Domenico Doto #
Leone, old Roman | Sebastià Serra #
# Accademia del Teatro di San Carlo
Orchestra and Chorus of Teatro di San Carlo
Chorus Master | Fabrizio Cassi
Production of Teatro di San Carlo
Teatro San Carlo Naples Italy
Teatro di San Carlo Napoli; San Carlo Opera House; Real Teatro di San Carlo Naples.
The Real Teatro di San Carlo (Royal Theatre of Saint Charles), its original name under the Bourbon monarchy but known today as simply the Teatro di San Carlo, is anopera house in Naples, Italy. It is located adjacent to the central Piazza del Plebiscito, and connected to the Royal Palace.
It is one of the oldest continuously active venue for public opera in the world, opening in 1737, only five years after the Manoel Theatre in Malta and decades before both the Milan's La Scala and Venice's La Fenice theatres.
The opera season runs from late January to May, with the ballet season taking place from April to early June. The house once had a seating capacity of 3,285.but nowadays has been reduced to 1414 seats.[3] Given its size, structure and antiquity was the model for the following theatres in Europe.
History of the opera house
Commissioned by the Bourbon King Charles VII of Naples (Carlo VII in Italian), Charles wanted to endow Naples with a new and larger theatre to replace the old, dilapidated, and too-small Teatro San Bartolomeo of 1621, which had served the city well, especially after Scarlatti had moved there in 1682 and had begun to create an important opera centre which existed well into the 1700s.
Thus, the San Carlo was inaugurated on 4 November 1737, the king's name day, with the performance of the opera Domenico Sarro's Achille in Sciro, which was based on the 1736 libretto by Metastasio which had been set to music that year by Antonio Caldara. As was customary, the role of Achilles was played by a woman, Vittoria Tesi, called "Moretta"; the opera also featured soprano Anna Peruzzi, called "the Parrucchierina" and tenor Angelo Amorevoli. Sarro also conducted the orchestra in two ballets as intermezzi, created by Gaetano Grossatesta, with scenes designed by Pietro Righini. The first seasons highlighted the royal preference for dance numbers, and featured among the performers famous castrati.
In the late 18th century, Christoph Willibald Gluck was called to Naples by the impresario Tufarelli to direct his 1852 Clemenza di Tito at the theatre, and Johann Christian Bach in 1761-62 brought two operas, Catone in Utica and Alessandro nell'Indie.
1737: Construction of the Teatro di San Carlo
The new opera house was designed by Giovanni Antonio Medrano, a military architect, and Angelo Carasale, the former director of the San Bartolomeo. The horseshoe-shaped auditorium is the oldest in the world. It was built at a cost of 75,000 ducats. The hall was 28.6 meters long and 22.5 meters wide, with 184 boxes, including those of proscenium, arranged in six orders, plus a royal box capable of accommodating ten people, for a total of 1,379 seats. Including standing room, the theatre could hold over 3,000 people. The fastidious composer and violinist Louis Spohr reviewed the size and acoustic properties of this opera house very thoroughly on 15 February 1817 and concluded that:
there is no better place for ballet and pantomime. Military movements of infantry and cavalry, battles, and storms at sea can be represented here without falling into the ludicrous. But for opera, itself, the house is too large. Although the singers, Signora Isabella Colbran, [Prima Donna of the Teatro San Carlo opera company and Rossini's future wife], and the Signori Nozzari, Benedetti, etc., have very strong voices, only their highest and most stentorian tones could be heard. Any kind of tender utterance was lost.
Much admired for its architecture, its gold decorations, and the sumptuous blue upholstery (blue and gold being the official colours of the Bourbons), the San Carlo was now the biggest opera house in the world.[6] In relation to the power of the existing Bourbon Kingdom of the Two Sicilies, Beauvert notes that the design of the house, with its 184 boxes lacking any curtains was so that "no one could avoid the scrutiny by the sovereign" who had his private access from the Royal Palace.
In 1809 Domenico Barbaia was appointed manager of the royal opera houses in Naples and remained in charge until 1841. He soon established a reputation for innovative and dazzling productions, which attracted both the public and leading singers to the opera house.
Related events