Throughout this performance, the tenor gives a well-sung and sensitive account of Foresto. I previously mentioned tenor Kaludi Kaludov’s fine singing in the Prologue. Both the Prologue duet with Attila and Ezio’s Act II scene are among the highlights of this performance. I wish Zancanaro didn’t so frequently resort to aspirates instead of maintaining a true legato, but overall, I can’t imagine anyone from the past few decades performing the role of Ezio better. Giorgio Zancanaro was one of the few singers of his generation who possessed the style, incisive diction, vibrant tone, and free upper register so essential for the great Verdi baritone roles. She also brings considerable stage presence to the part. The remainder of the opera features more conventional soprano writing, and here, Studer acquits herself admirably. Cheryl Studer copes well with the fiendish dramatic coloratura of Odabella’s music in the Prologue, although the soprano is much happier in the upper reaches of her voice than in the lower, which tends to lose support and focus. The rest of the singers are a bit more uneven, but each still offers many positive attributes. A fine document of a great singer in one of his signature roles. Whenever Ramey is on stage, he commands the center of attention, as well he should. Here, he revels in the part, both vocally and histrionically.
Atilla is a role that fit Ramey’s powerful and gleaming, high bass like a glove. Leading the cast is the superb American bass, Samuel Ramey, in the prime of his career. That kind of gratifying collaborative work is evident throughout this performance. Listen, for example, to the way Muti and tenor Kaludi Kaludov sculpt the grand, ascending phrases of Foresto’s Prologue aria. Muti also elicits a beautiful, singing tone from the La Scala Orchestra, and conducts with a flexibility that belies the “metronome” criticism often leveled at his work. Verdi’s incisive rhythms and dynamic contrasts - so necessary for maintaining the tension of these early, vibrant works - are given their full due.
What a pleasure it is to hear an early Verdi score treated with the same respect as his later masterpieces. Those same qualities may be found in this La Scala Attila. Both featured breathtaking execution, intensity, and momentum. When Muti was Music Director of the Philadelphia Orchestra, I was privileged to see their concert performances of Nabucco and Macbeth. I’ve always felt that early Verdi is one of Riccardo Muti’s greatest strengths. This DVD release, taken from an RAI telecast, documents a 1991 La Scala performance of Verdi’s 1846 opera, based on the life of Attila the Hun.
Samuel Ramey, bass (Attila), Giorgio Zancanaro, baritone (Ezio), Cheryl Studer, soprano, (Odabella), Kaludi Kaludov, tenor (Foresto), Chorus and Orchestra of the Teatro alla Scala, Milan, Riccardo Muti, Conductor.
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