ATTILA di Verdi, protagonista Carlo Colombara, chiude la Stagione 2014 del Teatro Bellini di Catania

By Natalia Di Bartolo –

Catania, December 4, 2014 —

Great work verdiana at the Teatro Bellini in Catania: Attila by Giuseppe Verdi was staged on December 4, 2014 in the maximum Theatre catanese, which produce season 2014.

Eagerly awaited by viewers, the piece was missing from Billboard Since 1979 and then invokes an audience of connoisseurs and enthusiasts, mingled at the historic public "of the first" that even today, despite the serious crisis, never fails to attend the beloved Temple of SADA.

On the podium the Spanish master Sergio Alapont, driving experience Orchestra del teatro Carpenter. The young director showed pulse in the overall direction, fine structure dynamics, a great domain of the score and worthy support interpreters, but fail to offer the musical phrases of genius of Busseto that brilliance given by proper time management in every part of the show. This made it particularly painful notes of Verdi, but because of slowed it harder to interpret.

Lived up to expectations and, above all, the difficulty of the score, the cast of the evening, which shone first with the Attila powerful and well characterized by Carlo Colombara.

Need a great performer for this work, which requires a low in the title role, strong, impressive in appearance and in vocal style: the famous bass bologneseas specifically structured for both vocal and physical point of view, gave great proof of their abilities not only as a singer but also as an actor, imposing such Attila absolutely credible and fully lowered into the role.

Vocally and musically impeccable, made a the Hun with the appropriate character and facets of gesture pertaining to a character rendered by Verdi more human and, perhaps, a little’ far away from the reality that history has handed down…A little’ noblest, with feelings, strengths, but also emotional fragility. And everything you've seen, everything you read in the excellent interpretation of one of the most celebrated voci verdiane of our days.

The scenically elegant Dimitra Theodossiou as Odabella seemed to have rediscovered that vocal power that it pointed out for some time, while fighting against the rough score, and this requires the female lead respectable, and acute agility and an enormous yarns, not always executed. The Greek interpreter note seemed especially put to the test in the acute area and was not helped by very thoughtful direction of maestro Alapont.

The work requires four great voices, not just one or two: Ezio, Roman general, is no less than that of Attila and in duets you create sometimes a kind of fair competition between the two voices, burnished baritone and bass, both that the tile.

In the role of Ezio, Carmelo Corrado Caruso has been able to keep up with the difficulties imposed by part Verdibut we would have liked to hear more philological relevance to score, especially in the detached that abound in his role, but of which, unfortunately, has not heard her track, an unending tied, however supported and robust, but probably also partly induced by little snappy direction of’Alapont.

Very good on Foresto by Sung Kyu Parkfrom Italian diction impeccable and beautiful color of young tenor voice, also a well identified in part e recitativamente nicely framed. Which, by equipping, with this, the work of four respected entries above, gave way to the wonderful concerted valia to come out in an effective and satisfactory answer to crowd pleaser.

Led by Gaetano Costa, not as well made the choir the theater, from which we would have liked more colorful and emotional involvement.

A note to devote to Setup by Vincenzo Pirrottawhich, albeit questionable directorial ideas but also meditate inserting dance (especially following the modern but somewhat antifilologica the heels of "Symphony" and setting up a delivery room on the stage in scene two of the prologue), has held up the whole show with a thread of attention to reading the libretto and consistent interpretive reading, up to the final striking and uncharacteristic saw Attila die clutched by lianas of the pleasant Grove where he had carried out part of the path of life and inner set of protagonists. A thicket of vines as rained down from the sky, bristling with green leaves, but that they kept, then eventually just guessed as intricate feel human, in which, pierced by Odabellais entangled and dies Attilafollowing the condition of God on Earth, such as that of men.

Very satisfied the public Carter, who greeted this production as the most successful of the entire opera season, and playing success with felt and sustained applause, even in open stage, to all players.