Today we are talking about the amazing reinterpretation in a modern way of “Attila”, one of the most famous Verdi’s Opera, made by Davide Livermore.

The Under30 première at La Scala theatre, probably the most magic event of the pre-Christmas period in Milan.

The beautiful of the show, the skill of the artists was set in the splendid frame of the most beautiful theater of the world, La Scala, creating a special atmosphere.

One of the most appreciate thing of the evening has been the ability to attract attention by using an overwhelming scenography and special effects. Among these, the use of videos, fire, false rifles which reproduced the sound, and horses. You read well, real horses on the stage of La Scala for the first time (obviously none of them suffered). Everything was perfectly orchestrated to emphasize the action, a perfect example could be the separation of a bridge under the feet of Attila, the main figure, and his deuteragonist, Ezio. The work of production designer, Studio Giò Forma, and of the costume designer, Gianluca Falaschi, made alive an unexpected interpretation of the masterpiece, adding artistic value to the whole representation.

Regarding the actors, Attila, interpreted by Ildar Abdrazakov, is the center of the attention. Even though the role is deeply cruel with his magnificent voice and interpretation we can only love him. A perfect mixture of roughness, magnificence and ambition, the epitome of the barbarian king, stoic even in the death.

Now, I would like to focus the attention on the role of Odobella, the female main character, interpreted by Saioa Hernández, in occasion of her debut in the prestigious location. Frequently, we use to think to the role of woman in a second level than men, as someone who prefers the peace than war. Well, in this plot, we saw a woman who fights for her land, for her people to vindicate her father. We saw a woman who uses some of the greatest abilities of women: cunning, tenacity, preferring her brain than seduction, valuating all situations before acting. Odobella does not compromise her nature, her marriage to realize her dream; She uses what really needs: intelligence. The perfect example of a different kind of “femme fatale”, a “modern Giuditta, heroine of her people.

Foresto, represents what does not like for success: hunger for revenge, acting with impetus without reflecting before.

Another aspect that should be highlighted has been the facility of empathy with the plot, with the characters and above with the values of the Opera: courage, intelligence, loyalty and determination.

We have to spend sweet words on the orchestra, too. Verdi‘s Symphony is emotional, magic, It is representation of the plot: it is an evergreen. The brilliant orchestral were extremely able to reproduce the essence of Verdi’s. A superlative performance of the strings, with their sound of torment, impatience and twists. All, perfectly compensated by a softer and elegant sound of the harp and wind instruments. They created a realistic Imagine of the Opera.

The brilliance of both Davide Livermore – recreating without distorting the plot – and Riccardo Chailly, the conductor, allowed easily to all the young public present to appreciate the Opera. Nowadays, it is not so common for youths to prefer going to the theater than club or cinema. There is a wrong idea that to appreciate Opera you need a cultural background or you should be older, but this is not true. The genius of Davide first, and Riccardo, too, has been able to catch the spectator’s attention and has made the Opera understandable for everyone.

In conclusion the 10 minutes of applauses are more than due!

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