Name: Attila
Start: 2013-07-07T00:00:00.000Z
End: 2013-07-18T00:00:00.000Z
Location: Theater an der Wien

Organization

Singer

Bass

Dmitry Belosselskiy

Attila

Baritone

George Petean

Ezio

Soprano

Ana Lucrecia García

Odabella

Tenor

Nikolai Schukoff

Foresto

Conductor

Riccardo Frizza

Stage director

Peter Konwitschny

Costume designer

Johannes Leiacker

Set designer

Lighting designer

Manfred Voss

Dramaturge

Bettina Bartz

Stefan Cerny

Leone

Andrew Owens

Uldino

MusikTheater an der Wien

Iodáilis

Vienna

Austria

Theater an der Wien

Gearmáinis

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Dancer

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Countertenor

Bass-baritone

Mezzo-soprano

Contralto

Alto

Child vocalist

Continuo

Silent

Spoken

Attila Verdi

ATTILA Giuseppe Verdi - Ouvertüre

Ludwig van Beethoven had already toyed with the idea of ​​using Zacharias Werner's drama Attila, King of the Huns (1807) as the basis for an opera. Werner had built choirs into the work based on the ancient model, so it made sense to compose music for the successful piece. Giuseppe Verdi's librettist Temistocle Solera turned it into a patriotic story for the carnival season of 1845/46 in Venice - the
revolution of 1848 was already in the air: “Take the universe, just leave me Italy!” Is the acclaimed compromise proposal by Attila's opponent Ezio, the Roman-Italian general. The second part of the
prologue also takes up the founding myth of Venice, it is set in the Rivo Alto lagoon, which can still be found today in the Venetian area name "Rialto".

Huns king Attila, the "scourge of God", covers Italy with his campaigns of conquest. He slaughters whatever gets in his way. He also conquered Aquileia, slain the ruler of the city. Whose daughter Odabella wants
Stop accepting Attila's devastation. While the surviving residents save themselves in the lagoons and, on the side, found Venice, Odabella stands up to brave women at the helm of Attila. He is impressed by her courage and falls in love with her. Odabella appears to respond to his recruitment. She is determined to rid the world of the monster. To do this, she puts a lot at stake: Her true lover Foresto must first believe that she is reaching out her hand to her father's murderer. But shortly before Attila's longed-for marriage, she seizes the sword he gave her and takes her vengeance: the almighty King of the Huns falls, executed by the hand of this woman.

For the bloodthirsty story of the struggle between the pagan invaders and Christian Italy under the leadership of Rome, Giuseppe Verdi created rousing straight choirs, arias and duets with far-reaching melodies for Nabucco (1842). The work is full of energy and unmistakably comes from Verdi's first phase of success. The characters are not very individualized, but full of passion, which caused an enthusiastic response at the time of the premiere.

English

Attila by Verdi, Céa 10 Iúil 2013, Ó (2013/2013), Faoi stiúir Peter Konwitschny,, Seoltóir Riccardo Frizza, Theater an der Wien, Vienna, Austria

Creidmheasanna feidhmíochta (Foireann & Criú )

Caitheadh

Criú

Clár, Eolas & Achoimre

Físeáin

Grianghraif

Tuilleadh léitheoireachta

Dátaí & Ionaid Feidhmíochta

Ionaid