SANTA CRUZ DE TENERIFE, 15 Nov. (EUROPA PRESS) –
The Auditorio de Tenerife presented this Monday ‘Attila, the second title of the Ópera de Tenerife season’, a version of the most patriotic Giuseppe Verdi on the life of the Hun king, which will take place on 23, 25 and 27 November at 7.30 pm in the Symphonic Hall.
The details about this co-production, carried out together with the Teatro Regio di Parma, were released by the Councilor for Culture of the Cabildo, Enrique Arriaga; the musical director, Christopher Franklin, and the stage director and set designer of the play, Andrea de Rosa.
Enrique Arriaga advanced the list of roles of this production: “The main role, Atila, will be interpreted by the Croatian bass Marko Mimica, while the maiden Odabella will be interpreted by the Bulgarian soprano Tanya Ivanova, the baritone Alfredo Daza will be Ezio; the tenor Antonio Poli, Foresto, the bass Rocco Cavalluzzi, Leone, and the tenor Javier Palacios will play Uldino and these voices will be joined by those of the Tenerife Opera Choir “.
Arriaga recalled that culture is safe and more so in Auditorio de Tenerife, the first stage space with Aenor certification for its plan to prevent contagion by covid-19.
The counselor also explained that “from the Cabildo we work so that anyone can access culture and that income is not an obstacle, therefore, there are discounts for the unemployed, large families and those under thirty years of age.”
The musical director, Christopher Franklin, who will be in charge of the Tenerife Symphony, explained that he was already in 2018 at Ópera de Tenerife with Lucia de Lammermoor and that now he is coming to tackle a great opportunity.
“This score is bombastic and patriotic, dark and mysterious, with a leitmotif as a warning saying to be careful with strangers with whom you are going to drink,” analyzed the director, who warns of the reduced formation of the orchestra for this occasion for the correct compliance with prevention measures.
IMPACT OF THE WAR
Andrea de Rosa spoke about the content of the work and the scenography because “it takes place during the invasion of the Huns in Italy and speaks of the devastating impact of the war, a violence that affects both men and women and children.”
The director explained that when staging an opera like this, the characters are not divided into good and bad, but show other facets.
“Thus, Attila is a fierce man but we also reflect his dreams and desires,” he said. For this, the singers must also be actors to be able to transmit all the nuances.
Marko Mimica, lead singer, acknowledged that he has studied all those who, before him, have sung Verdi’s Attila in order to contribute to the character.
“It can be said that I have been preparing this role for ten years because I have sung a lot one of the arias of the work, which is especially complicated,” added the Croatian singer, who highlights the nuances that this opera brings to the character, such as his love for Odabella, and admits that it is the most difficult role she has ever played.
This is Verdi’s ninth opera and consists of a prologue and three acts with a libretto by Temistocle Solera.
This proposal was released in the mid-19th century and presents the story of Attila, king of the Huns, and his relationship with Odabella.
The staging departs from the traditional characteristics of this title, but maintains the spirit of the Verdi work. Andrea de Rosa’s team is completed by Alessandro Lai in costume design and Pasquale Mari in lighting.
