Why Verdi’s Attila is, in fact, Awesome

Tonight is the premiere of Verdi’s Attila at the Metropolitan opera, conducted by Riccardo Muti, with costumes by Prada. And this is not just the premiere this season, mind you. This is the first time this work has ever been heard at the Met. EVER. Since it was written. In 1846!

I will not be there tonight, but before the reviews come in- I would like to take a moment to clarify something I feel about Verdi’s Attila, as an opera, by itself:

It is very awesome.

Now it is not awesome like Rigoletto or La Traviata or Otello are awesome (which they are). Those are “Ah, yes, what these are beautiful works of mature and masterful artist that explores the depths of human emotion” awesome.

Attila falls into the same category of awesome as well-put together action movies and well-paced video games. It is loud, makes little demand on you emotionally, and is full of people blowing stuff up. Only, as this is the world of opera, the weapon of choice is THE HUMAN VOICE.

Okay, now for some choice examples of why this is so:

- In the very first scene, the lead soprano- Odabella- impresses Attila with her bravery and he’s all “You are excellent, and despite the fact that I have conquered your people, I will give you a present. What do you want?”

And what does she ask for? A letter? A glass harp? Tuberculosis?

NO! She wants a sword! A big ass sword! To avenge her father! And then she’s going to sing about it. AWESOME.

- The lower male voices triumph! For once! I mean, not in terms of the plot (that never happens), but musically- most definitely! Throughout Attila there is an abundance of rumbling lower voices that stand, in some armor, and are excellent. Attila is Verdi’s only opera with a bass in the title role, and it also features an excellent role for a Baritone. It also has some of the most uninteresting music for a tenor in the Verdi canon (not even Carlo Bergonzi could make it awesome), and this contrast highlights how awesome the lower male in this opera are. AWESOME.

- In addition to a central bass as Attila, it also features ANOTHER bass in a small role as an ominous spectral vision of THE POPE. Got it? There is a big basso-profundo face off scene in this opera between Attila the Hun and THE POPE. What else is needed? Nothing. AWESOME.

- Finally, it features perhaps the most awesome aria that Verdi wrote for a Baritone. I do not mean “good” or “musically interesting”- I simply mean “awesome”. To behold the majesty that is “E gettata la mia sorte”- I present you with a video, and the excellent text. Ahem:

EZIO:

My lot is cast, and I am ready to fight every war!

If I fall, it will be as a hero, and my name will live on!

I will not see my beloved land fall into ruin and decay!

All Italy will mourn the last of the Romans!

The aria begins at 5:28. Enjoy.