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As things turned out, Verdi returned to Piave for the completion of act 3 – with Solera's blessing. However, the relationship between composer and the new librettist worsened in a variety of ways, especially over the use of stage bands in the context of the composer claiming to think in terms of his
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grand operas? Yet they don't contain a band." And the differences between Piave's version and what Solera (who received a copy of Piave's act 3) had originally conceived were so great as to cause a final rift between Verdi and his long-time collaborator; the composer's ideas of musical theatre had
278:
Solera's approach to the project was to emphasize an appeal to
Italian, specifically Venetian, patriotism, while ignoring many of the elements of the play. These included reversing the order of key scenes and, in the case of the opening scene showing the foundation of Venice, totally inventing it.
279:
But the pace began to slow as, firstly, illness limited the composer's ability to do much work. Then came the second blow: Solera left the project altogether and followed his opera singer wife to Madrid where he became director of the Royal
Theatre, leaving only the draft sketch of the third act.
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in March 1981 in the opera which had not been seen in the city for one hundred and thirty years. Throughout that decade Ramey "unquestionably rack up more performances in the role than any bass since its creator" in houses such as La Fenice and San
Francisco, finally making an audio recording in
1022:". However, Baldini does point to the strengths of the score which include the prologue's music for dawn over the Adriatic, the music for the bass in his act 1 scene, and the baritone's act 2 aria as well as the final ensemble in act 3 "which possesses great powers of human communication".
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was to be the second opera Verdi would be writing for Venice, he appears to have changed his mind about working with Piave as the librettist and then convinced him to relinquish the project, seemingly preferring to work with Solera, who had been his librettist for both
991:/ "Foresto, my soul belongs to you"). Attila finds the three together and realizes he has been betrayed. As Roman soldiers approach, Odabella stabs him with the sword he had given her. The three conspirators cry that the people have been avenged.
337:
After its world premiere in 1846 in Venice, the opera went on to be produced in all of the major
Italian cities (plus Barcelona, Lisbon, and Trieste), a total of over 25 productions, including one in Palermo under the title of
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to their hearts" and he adds that a line sung by the Roman general Ezio in a duet – "Avrai tu l'universo, resta l'Italia a me" (You can have the universe, but leave Italy for me) – brought forth spontaneous cheers".
847:/ "While your warriors rush to their swords like lions"). Attila, impressed by her courage, offers a boon and she asks for her sword, with which she intends to avenge the death of her father at Attila's own hand (
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Foresto's plot to have Uldino poison Attila is foiled by
Odabella, jealous of her own revenge. A grateful (and unsuspecting) Attila declares she shall be his wife, and places the unmasked Foresto in her custody.
264:, two operas which employed the format of large choral tableaux and something which the librettist was prepared to re-use for the new opera. No clear reason for this change seems to have emerged, except that
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As with all of Verdi's early operas, there are impressive individual moments, particularly in those grand ensemble movements that constantly inspired the composer to redefine and hone his dramatic language.
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of fastidious critics" and Budden ("...the heaviest and noisiest of the
Risorgimento operas, blunt in style, daubed in thick garish colours") refer to some of least successful aspects of the work. However,
987:/ "What would that wretched man not have offered for Odabella"). Ezio arrives with a plan to ambush the Huns; when Odabella comes Foresto accuses her of treachery, but she pleads for his trust (
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there in 1847. In his 1864 autobiography he notes that "none perhaps of Verdi's works had kindled more enthusiasm in Italy or crowned the fortunate composer with more abundant laurels than
957:/ "From the splendid immortal peaks of former glory"). Recognizing the incognito Foresto among the bearers of an invitation to a banquet with Attila, he agrees to join forces with him (
218:) had included the subject of Attila as opera number 10 on a list of nine other possible projects, and in that same letter, he encouraged Piave to read the play, which musicologist
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900:/ "O father, is your image not imprinted on the fleeting clouds?..."). When he appears, she is put on the defensive, denying any infidelity and reminding him of the biblical
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speculates that, in returning to Solera, he was more comfortable working with a librettist who was more suited to "sketching epic sagas and historical-religious frescoes.
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describes as having "sprung from the wilder shores of German literary romanticism all the
Wagnerian apparatus – the Norns, Valhalla, the sword of Wodan [
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Overall, the reception from the press on opening night was not as positive as that from the audience present. As Budden notes, "the
Italian public had taken
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conducting. There was a Rome revival a year later, then productions in
Trieste in (1965), in Buenos Aires in (1966), in Berlin in (1971), and in 1972
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Modern day critical reactions to Verdi's music and musical choices vary somewhat, but there is general unanimity as to its principal weaknesses. For
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is "one of the weakest scores of the 'galley years'" and he references the contemporary critical viewpoint of Luigi
Casamorata who wrote in the
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in 1855. One production in Como is recorded to have taken place in 1875, after which the opera appears to have disappeared in Italy, at least.
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228:], the gods of light and the gods of darkness." He continues: "It is an extraordinary Teutonic farrago to have appealed to Verdi."
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Uldino informs Foresto about the plans for the wedding of Odabella and Attila; Foresto laments Odabella's apparent betrayal (
924:/ "Beyond that boundary I await you, O ghost!"). However, when a procession of maidens clad in white approaches, singing the
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Attila awakes and tells Uldino of a dream in which an old man stopped him at the gates of Rome and warned him to turn back (
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on 23 February 2010 conducted by Riccardo Muti, who was making his house debut. Ildar Abdrazakov sang the title role, with
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Ezio has been recalled after a peace has been concluded. He contrasts Rome's past glory with the current child emperor
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859:/ "You may have the universe, but let Italy remain mine"). Attila disdainfully calls him a traitor to his country.
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Stamatov, Peter, "Interpretive Activism and the Political Uses of Verdi's Operas in the 1840s" (June 2002).
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871:/ "She is in the barbarian's power!") but then rouses himself and the others to begin building a new city (
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sang the role in Milan when the production was first presented there in 2011. The work was presented by
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604:'s 2011/12 season and was staged by San Francisco Opera in June 2012 in a co-production with La Scala;
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Captains, Kings and Soldiers of the Huns, Priestesses, Aquileians, Roman Soldiers and populace of Rome
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178:" (My lot is cast, I am prepared for any warfare) is a fine example of a characteristic Verdian
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Time: Mid-5th century (it was in 452 that the historical Attila destroyed the city of Aquileia)
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In the 20th century, it was revived in concert performance during Venice Festival of 1951 with
851:/ "O sublime, divine justice by thee is this now granted"). After she leaves, the Roman envoy
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Verdi had read the ultra-Romantic play in April 1844, probably introduced to it by his friend
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920:/ "As my soul seemed to swell"). In the daylight, his courage returns and he orders a march (
835:/ "Shouts, pillage"). They are surprised to see a group of women spared as prisoners of war (
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in 1991, again with Ramey and Muti. In February 2000 a concert performance was given by the
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Odabella laments her late father and (believing him to be dead) also her lover Foresto (
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A boat bearing Foresto and other survivors arrives. He thinks of the captive Odabella (
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collaborated on costumes and sets. It was presented in September 2011 as part of the
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1695:, vol. 6, issue 2, 2002, pp. 117–119. (By subscription). Retrieved 18 March 2013
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378:, Velletti, and Cruzzoni. The opera was first given in New York City in 1850.
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of 17 January 1847 that, with this opera, Verdi had reached the "apogee of
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875:/ "Dear homeland, at once mother and queen of powerful, generous sons").
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and Luis Giron May alternating as Ezio, Antonio Ordonez as Foresto, with
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From 1981 onwards the role of Attila was taken up by the American bass,
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2258:(1982), New York: Knopf, 1962, Chicago: University of Chicago Press.
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1144:(Live recording of 1 December performance at the Teatro Communale)
839:/ "Ah, what is this group"). Their leader, Odabella, asks why the
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Scene 1: Some weeks later. A wood near Attila's camp, near Rome
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as Foresto, Giovanni Meoni as Ezio, and Samuel Ramey as Leone.
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2121:, the critical edition. Chicago: University of Chicago Press.
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and his victorious horde have destroyed the city of Aquileia (
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states something to which the others would appear to agree:
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asks for an audience and proposes a division of the empire (
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1972:
The Story of Giuseppe Verdi: Oberto to Un Ballo in Maschera
932:/ "Come, visit our minds"), he recognizes the Roman bishop
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received a concert performance on 8 September 2007 at the
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on 21 November 1991, with Samuel Ramey in the title role,
2215:
Nineteenth-Century Italian Opera: From Rossini to Puccini
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224:
1995:
The Operas of Verdi, Volume 1: From Oberto to Rigoletto
2099:. Chicago & London: University of Chicago Press.
2074:. Vol. One. London: Macmillan. pp. 239–240.
1849:
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1873:
1824:
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961:/ "My lot is cast, I am prepared for any warfare" ).
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as the old man of his dream and collapses in terror.
481:. A DVD also exists from a new production staged by
1186:(Live recording of 21 November performance in Rome)
1104:
Coro e Orchestra della RAI Milano (radio broadcast)
410:in London in 1963 (with an English libretto), with
2234:, London & New York: Oxford University Press.
2200:, Oxford & New York: Oxford University Press.
2158:. New York: G. P. Putnam's Sons. pp. 531–534.
959:È gettata la mia sorte, son pronto ad ogni guerra
3285:
1892:Recordings on operadis-opera-discography.org.uk
573:conducted; a recording and broadcast followed.
2095:De Van, Gilles (trans. Gilda Roberts) (1998),
2042:(print on demand). London and US: Nabu Press.
161:. The opera received its first performance at
2367:
2097:Verdi's Theater: Creating Drama Through Music
173:
2998:Orchestra Sinfonica di Milano Giuseppe Verdi
608:sang the title role in San Francisco, while
465:as Odabella, and Piero Visconti as Foresto.
147:
79:
2198:The New Grove Guide to Verdi and His Operas
2136:Divas and Scholar: Performing Italian Opera
1638:
1636:
1634:
1275:(Live recording of 28 December performance)
863:Scene 2: A swamp, the future site of Venice
2374:
2360:
2340:The aria "Te sol quest'anima" was used in
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231:
43:Last scene, as performed in London in 1848
37:
2326:International Music Score Library Project
1759:
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922:Oltre a quel limite, t'attendo, o spettro
580:mounted its first production directed by
282:
2138:, Chicago: University of Chicago Press.
1631:
887:
857:Avrai tu l'universo, Resti l'Italia a me
819:
631:
545:In 2007, it was included as part of the
472:, who made his first appearances at the
445:presented a new production conducted by
348:was first produced in London in 1848 by
316:moved far ahead of his older colleague.
286:
235:
202:who had written a synopsis. A letter to
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2011:
1955:
1861:
1855:
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1730:Productions listed on librettodopera.it
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1567:
1180:RAI Symphony Orchestra and Chorus, Rome
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1989:
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1867:
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1184:Coro voci bianche "Renata Cortiglioni"
1025:Both Kimbell ("the sheer noisiness of
496:premiered it on 13 October 1990, with
319:
185:
3334:Cultural depictions of Flavius Aetius
3329:Cultural depictions of Attila the Hun
2355:
1312:Hungarian Radio and Television Chorus
356:, had successfully presented Verdi's
2166:, New York: Dodd, Mead and Company.
816:Scene 1: The ruined city of Aquileia
2275:New York: Oxford University Press.
2217:, Portland, Oregon: Amadeus Press.
1660:
1648:
1589:
489:, again featuring Ramey as Attila.
13:
3319:Opera world premieres at La Fenice
2381:
2249:Giuseppe Verdi: His Life and Works
2089:
1612:Verdi to Piave, 12 April 1844, in
14:
3355:
3344:Libretti by Francesco Maria Piave
2307:
2071:The New Grove Dictionary of Opera
892:Soprano Sophie Löwe sang Odabella
803:, the Adriatic lagoons, and near
646:Roles, voice types, premiere cast
206:(with whom he had worked on both
3271:
3247:
3246:
3197:Giuseppe Verdi's Rigoletto Story
2925:
2316:on giuseppeverdi.it (in English)
2314:Verdi: "The story" and "History"
2164:Verdi: His Music, Life and Times
908:/ "O vast joy without measure".
130:in a prologue and three acts by
2117:Greenwald, Helen (ed.) (2012),
1978:: Cambridge University Press.
1921:
1896:
1885:
1836:
1811:
1798:
1787:
1776:
1723:
1538:Chor des Bayerischen Rundfunks,
1231:Finchley Children's Music Group
824:Bass Ignazio Marini sang Attila
324:
2438:I Lombardi alla prima crociata
2408:Oberto, Conte di San Bonifacio
2294:Verdi: The Man and His Letters
2273:The Oxford Dictionary of Opera
1704:Verdi to Piave, (undated), in
1698:
1619:
1606:
918:Mentre gonfiarsi l'anima parea
640:. Teatro Massimo, Palermo 2016
538:conducting in a production by
1:
3339:Operas set in the 5th century
1763:Dillon, Patrick, "Conquering
1556:
1046:
873:Cara patria già madre e reina
3217:Casa di Riposo per Musicisti
2962:Theatres named after Verdi (
2020:. New York: Penguin Putnam.
1579:American Sociological Review
1465:Teatro Lirico Giuseppe Verdi
1347:Orchestra e Coro del Teatro
1225:Royal Philharmonic Orchestra
1107:CD: Great Opera Performances
849:Da te questo or m'è concesso
660:Premiere cast, 17 March 1846
569:, and Massimiliano Pisapia.
165:in Venice on 17 March 1846.
7:
2956:Memorials to Giuseppe Verdi
2183:, New York: Da Capo Press.
2181:The Complete Opera of Verdi
2018:The New Penguin Opera Guide
1804:List of singers taken from
1794:San Francisco Opera archive
1016:Gazzetta Musicale di Milano
906:Oh, t'inebria nell'amplesso
810:
790:
487:Opera Orchestra of New York
10:
3360:
3066:Portrait of Giuseppe Verdi
2296:, New York, Vienna House.
2040:Reminiscences of the Opera
1817:Described in the score as
1783:Royal Opera House database
1541:Munchner Rundfunkorchester
1140:Maggio Musicale Fiorentino
1068:opera house and orchestra
904:. The couple is reunited:
3243:
3208:
3127:
3086:Verdi, the King of Melody
3056:
2947:
2914:String Quartet in E minor
2885:
2782:
2699:
2398:
2389:
1309:Hungarian State Orchestra
985:Che non avrebbe il misero
965:Scene 2: Attila's banquet
869:Ella in poter del barbaro
845:Allor che i forti corrono
781:
441:On 21 December 1980, the
174:
93:
70:
62:
48:
36:
28:
21:
3294:Operas by Giuseppe Verdi
2754:Libiamo ne' lieti calici
2228:Phillips-Matz, Mary Jane
1488:Giovanni Battista Parodi
1352:Venice, January 23, 1987
994:
973:
939:
878:
843:' women remain at home (
713:daughter of the Lord of
627:
602:Washington Concert Opera
155:Attila, King of the Huns
149:Attila, König der Hunnen
87:Attila, King of the Huns
81:Attila, König der Hunnen
3299:Italian-language operas
2991:Giuseppe Verdi Monument
2718:Bella figlia dell'amore
2538:La battaglia di Legnano
2271:and West, Ewan (1992),
2162:Martin, George (1983),
2155:The Complete Opera Book
2012:Kimbell, David (2001).
898:Oh! Nel fuggente nuvolo
382:20th century and beyond
232:Verdi works with Solera
98:17 March 1846
16:Opera by Giuseppe Verdi
2598:Les vêpres siciliennes
1773:, February 2010, p. 31
1739:Retrieved 21 June 2013
1517:Ildebrando D'Arcangelo
1229:Ambrosian Singers and
1044:
955:Dagl'immortali vertici
930:Vieni. Le menti visita
912:Scene 2: Attila's tent
893:
825:
641:
598:Herzog & de Meuron
402:, under the conductor
352:who, as impresario at
295:
283:Verdi returns to Piave
244:
195:
175:È gettata la mia sorte
172:of heroic resolution "
148:
80:
3324:Operas based on plays
2763:Un dì, felice, eterea
2346:The Professor at Home
1502:Teatro Regio di Parma
1338:Linda Roark Strummer,
1320:Cat: HCD 12934-12935
1040:
926:Veni Creator Spiritus
891:
823:
753:a Tribune of Aquileia
635:
434:was performed at the
354:Her Majesty's Theatre
293:Francesco Maria Piave
290:
239:
204:Francesco Maria Piave
193:
57:Francesco Maria Piave
3225:Verdi Transcriptions
2875:Un ballo in maschera
2821:La forza del destino
2648:La forza del destino
2638:Un ballo in maschera
2392:List of compositions
1527:Liudmyla Monastyrska
1471:Orchestra and Chorus
1457:Dimitra Theodossiou,
1451:Ferruccio Furlanetto
1434:Orchestra and Chorus
1393:Orchestra and Chorus
1273:Orchestra and Chorus
1162:Gianfranco Cecchele,
1142:Orchestra and Chorus
945:Scene 1: Ezio's camp
837:Di vergini straniere
614:Berliner Operngruppe
606:Ferruccio Furlanetto
453:. The cast included
142:, based on the 1809
3314:Operas set in Italy
3057:Cultural depictions
2936:Quattro pezzi sacri
2784:Opera discographies
1997:. London: Cassell.
1692:The Opera Quarterly
1439:Image Entertainment
1401:Cat: CDS 7 49952-2
1100:Carlo Maria Giulini
777:Giuseppe Romanelli
648:
596:and the architects
557:in Amsterdam, with
520:San Francisco Opera
500:in the title role,
474:New York City Opera
404:Carlo Maria Giulini
340:Gli Unni e I Romani
320:Performance history
186:Composition history
2984:Milan Conservatory
2905:Inno delle nazioni
2886:Other compositions
2608:I vespri siciliani
2418:Un giorno di regno
2232:Verdi: A Biography
1735:2014-01-05 at the
1681:Fregosi, William,
1645:, pp. 247–249
1499:Andrea Battistoni,
1494:Susanna Branchini,
1492:Roberto de Biasio,
1289:Yevgeny Nesterenko
1271:Vienna State Opera
1170:Giangiacomo Guelfi
1130:Giangiacomo Guelfi
1125:Margherita Roberti
1122:Gastone Limarilli,
1095:Giangiacomo Guelfi
989:Te sol quest'anima
894:
826:
746:Natale Costantini
644:
642:
578:Metropolitan Opera
451:Giulio Chazalettes
443:Vienna State Opera
436:Edinburgh Festival
396:Giangiacomo Guelfi
370:premiere featured
296:
245:
196:
3259:
3258:
3099:(1982 miniseries)
3096:The Life of Verdi
3033:Verdi, California
2745:La donna è mobile
2251:, New York: Knopf
2206:978-0-19-531314-7
2127:978-0-226-85332-1
2049:978-1-176-35326-8
1957:Baldini, Gabriele
1586:(3): pp. 345–366.
1554:
1553:
1496:Sebastian Catana
1479:Cat: CDS 372/1-2
1432:Teatro alla Scala
1422:Giorgio Zancanaro
1391:Teatro alla Scala
1381:Giorgio Zancanaro
1304:Lamberto Gardelli
1280:Cat: C 601 032 I
1266:Giuseppe Sinopoli
1261:Piero Cappuccilli
1220:Lamberto Gardelli
1210:Cristina Deutekom
1165:Antonietta Stella
1109:Cat: G.O.P.66306
788:
787:
697:slave of Attila's
528:Elizabeth Connell
512:as Foresto, with
506:Giorgio Zancanaro
502:Josephine Barstow
494:Royal Opera House
459:Piero Cappuccilli
447:Giuseppe Sinopoli
438:and in Florence.
242:Temistocle Solera
140:Temistocle Solera
119:
118:
53:Temistocle Solera
3351:
3276:
3275:
3267:
3250:
3249:
3236:
3229:
3219:
3209:Related articles
3201:
3191:
3181:
3171:
3161:
3151:
3141:
3128:Film adaptations
3120:
3110:
3100:
3090:
3080:
3070:
3049:
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3035:
3028:
3021:
3014:
3007:
3000:
2993:
2986:
2979:
2958:
2940:
2930:
2929:
2922:Messa da Requiem
2917:
2909:
2899:
2878:
2869:
2860:
2851:
2842:
2833:
2824:
2815:
2806:
2797:
2785:
2775:
2766:
2757:
2748:
2739:
2730:
2721:
2712:
2692:
2682:
2672:
2662:
2652:
2642:
2632:
2622:
2618:Simon Boccanegra
2612:
2602:
2592:
2582:
2572:
2562:
2552:
2542:
2532:
2522:
2512:
2502:
2492:
2482:
2472:
2462:
2452:
2442:
2432:
2422:
2412:
2376:
2369:
2362:
2353:
2352:
2324:: Scores at the
2211:Pistone, Danièle
2177:Osborne, Charles
2159:
2085:
2053:
2036:Lumley, Benjamin
2031:
2008:
1986:
1966:(1980), (trans.
1965:
1944:
1943:
1941:
1939:
1933:Presto Classical
1925:
1919:
1918:
1916:
1914:
1900:
1894:
1889:
1883:
1877:
1871:
1865:
1859:
1853:
1847:
1840:
1834:
1828:
1822:
1815:
1809:
1802:
1796:
1791:
1785:
1780:
1774:
1761:
1752:
1746:
1740:
1727:
1721:
1715:
1709:
1702:
1696:
1679:
1673:
1667:
1658:
1652:
1646:
1640:
1629:
1623:
1617:
1610:
1604:
1598:
1587:
1574:
1522:Stefano La Colla
1489:
1462:Donato Renzetti,
1357:Cat: GL 100.779
1341:Veriano Luchetti
1249:Nicolai Ghiaurov
1200:Ruggero Raimondi
1158:Ruggero Raimondi
1147:CD: Opera D'Oro,
1135:Bruno Bartoletti
1090:Caterina Mancini
1051:
1050:
1009:
1001:Gabriele Baldini
675:King of the Huns
649:
647:
643:
610:Orlin Anastassov
559:Ildar Abdrazakov
549:'s Verdi Cycle.
532:Vladimir Chernov
498:Ruggero Raimondi
455:Nicolai Ghiaurov
449:, and staged by
388:Caterina Mancini
312:Robert le Diable
274:
266:Gabriele Baldini
177:
176:
159:Zacharias Werner
151:
113:
110:Teatro La Fenice
105:
103:
83:
75:Zacharias Werner
41:
19:
18:
3359:
3358:
3354:
3353:
3352:
3350:
3349:
3348:
3284:
3283:
3282:
3270:
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3260:
3255:
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3222:
3215:
3204:
3194:
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3174:
3164:
3154:
3144:
3134:
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3113:
3103:
3093:
3083:
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3063:
3052:
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3024:
3017:
3010:
3003:
2996:
2989:
2982:
2961:
2954:
2943:
2933:
2920:
2912:
2902:
2895:Suona la tromba
2892:
2881:
2872:
2863:
2854:
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2800:
2791:
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2724:
2715:
2706:
2695:
2685:
2675:
2665:
2655:
2645:
2635:
2625:
2615:
2611:(December 1855)
2605:
2595:
2585:
2575:
2565:
2555:
2545:
2535:
2525:
2515:
2505:
2495:
2485:
2475:
2468:Giovanna d'Arco
2465:
2455:
2445:
2435:
2425:
2415:
2405:
2394:
2385:
2380:
2310:
2254:Walker, Frank,
2148:
2132:Gossett, Philip
2092:
2090:Further reading
2082:
2050:
2028:
2005:
1959:
1947:
1937:
1935:
1929:"Verdi: Attila"
1927:
1926:
1922:
1912:
1910:
1902:
1901:
1897:
1890:
1886:
1878:
1874:
1866:
1862:
1854:
1850:
1842:Casamorata, in
1841:
1837:
1829:
1825:
1816:
1812:
1803:
1799:
1792:
1788:
1781:
1777:
1762:
1755:
1747:
1743:
1737:Wayback Machine
1728:
1724:
1716:
1712:
1703:
1699:
1687:Giuseppe Verdi"
1680:
1676:
1668:
1661:
1653:
1649:
1641:
1632:
1624:
1620:
1611:
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1507:
1500:
1495:
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1487:
1478:
1463:
1458:
1456:
1454:
1442:Cat: 4360PUDVD
1441:
1430:
1420:
1415:
1414:Kaludi Kaludov,
1413:
1400:
1389:
1379:
1374:
1369:
1356:
1351:
1346:
1345:Gabriele Ferro,
1339:
1337:
1332:
1319:
1311:
1307:
1299:
1294:
1292:
1279:
1274:
1269:
1259:
1254:
1253:Piero Visconti,
1252:
1240:Cat: 412-875-2
1239:
1228:
1223:
1215:Sherrill Milnes
1213:
1208:
1203:
1190:
1189:CD: Opera D'Oro
1185:
1183:
1178:
1168:
1163:
1161:
1148:
1143:
1138:
1128:
1123:
1121:
1118:Boris Christoff
1108:
1103:
1093:
1088:
1083:
1067:
1062:
1060:
1058:
1049:
1003:
997:
976:
942:
881:
813:
793:
737:a Roman General
706:Ettore Profili
661:
645:
630:
571:Jaap van Zweden
567:Paolo Gavanelli
424:Donald McIntyre
420:Harry Mossfield
384:
372:Sophie Cruvelli
350:Benjamin Lumley
327:
322:
285:
268:
234:
188:
115:
114:
108:
106:
101:
99:
44:
17:
12:
11:
5:
3357:
3347:
3346:
3341:
3336:
3331:
3326:
3321:
3316:
3311:
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3301:
3296:
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3142:
3131:
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3125:
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3122:
3121:
3111:
3101:
3091:
3081:
3076:Giuseppe Verdi
3071:
3060:
3058:
3054:
3053:
3051:
3050:
3043:
3036:
3029:
3022:
3015:
3008:
3005:Verdi (crater)
3001:
2994:
2987:
2980:
2959:
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2798:
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2786:
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2777:
2776:
2767:
2758:
2749:
2740:
2736:Di quella pira
2731:
2722:
2713:
2703:
2701:
2700:Opera excerpts
2697:
2696:
2694:
2693:
2683:
2673:
2663:
2653:
2643:
2633:
2623:
2613:
2603:
2593:
2583:
2573:
2563:
2553:
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2533:
2523:
2513:
2503:
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2483:
2473:
2463:
2453:
2443:
2433:
2423:
2413:
2402:
2400:
2396:
2395:
2390:
2387:
2386:
2383:Giuseppe Verdi
2379:
2378:
2371:
2364:
2356:
2350:
2349:
2344:'s comic song
2338:
2333:
2328:
2317:
2309:
2308:External links
2306:
2305:
2304:
2283:
2266:
2252:
2242:
2225:
2208:
2191:
2174:
2160:
2146:
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2032:
2026:
2014:Holden, Amanda
2009:
2003:
1991:Budden, Julian
1987:
1946:
1945:
1920:
1895:
1884:
1882:, p. 240.
1872:
1860:
1858:, p. 106.
1848:
1835:
1833:, p. 244.
1823:
1810:
1797:
1786:
1775:
1753:
1751:, p. 214.
1741:
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1459:Alberto Gazale
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1293:János B. Nagy,
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1205:Carlo Bergonzi
1197:
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1191:Cat: OPD-1188
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1149:Cat: OPD 1267
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685:Ignazio Marini
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629:
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586:Violeta Urmana
547:Sarasota Opera
540:Lotfi Mansouri
536:Gabriele Ferro
510:Dennis O'Neill
428:Muir Mathieson
408:Sadler's Wells
383:
380:
326:
323:
321:
318:
306:Guillaume Tell
284:
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233:
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194:Giuseppe Verdi
187:
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134:to an Italian
132:Giuseppe Verdi
117:
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31:Giuseppe Verdi
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3153:
3149:
3148:
3143:
3139:
3138:
3133:
3132:
3130:
3126:
3118:
3117:
3116:Risorgimento!
3112:
3108:
3107:
3102:
3098:
3097:
3092:
3088:
3087:
3082:
3078:
3077:
3072:
3068:
3067:
3062:
3061:
3059:
3055:
3048:
3047:Verdi, Nevada
3044:
3041:
3040:Verdi, Kansas
3037:
3034:
3030:
3027:
3023:
3020:
3016:
3013:
3009:
3006:
3002:
2999:
2995:
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2714:
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2702:
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2680:
2679:
2674:
2670:
2669:
2664:
2660:
2659:
2654:
2650:
2649:
2644:
2640:
2639:
2634:
2630:
2629:
2624:
2620:
2619:
2614:
2610:
2609:
2604:
2600:
2599:
2594:
2590:
2589:
2584:
2580:
2579:
2574:
2570:
2569:
2564:
2560:
2559:
2554:
2550:
2549:
2544:
2540:
2539:
2534:
2530:
2529:
2524:
2520:
2519:
2514:
2510:
2509:
2504:
2500:
2499:
2494:
2490:
2489:
2484:
2480:
2479:
2474:
2470:
2469:
2464:
2460:
2459:
2458:I due Foscari
2454:
2450:
2449:
2444:
2440:
2439:
2434:
2430:
2429:
2424:
2420:
2419:
2414:
2410:
2409:
2404:
2403:
2401:
2397:
2393:
2388:
2384:
2377:
2372:
2370:
2365:
2363:
2358:
2357:
2354:
2347:
2343:
2339:
2337:
2336:Aria database
2334:
2332:
2329:
2327:
2323:
2322:
2318:
2315:
2312:
2311:
2303:
2302:0-8443-0088-8
2299:
2295:
2291:
2287:
2286:Werfel, Franz
2284:
2282:
2281:0-19-869164-5
2278:
2274:
2270:
2269:Warrack, John
2267:
2265:
2264:0-226-87132-0
2261:
2257:
2256:The Man Verdi
2253:
2250:
2246:
2245:Toye, Francis
2243:
2241:
2240:0-19-313204-4
2237:
2233:
2229:
2226:
2224:
2223:0-931340-82-9
2220:
2216:
2212:
2209:
2207:
2203:
2199:
2195:
2194:Parker, Roger
2192:
2190:
2189:0-306-80072-1
2186:
2182:
2178:
2175:
2173:
2172:0-396-08196-7
2169:
2165:
2161:
2157:
2156:
2151:
2150:Kobbé, Gustav
2147:
2145:
2144:0-226-30482-5
2141:
2137:
2133:
2130:
2128:
2124:
2120:
2116:
2114:
2113:0-226-14370-8
2110:
2106:
2105:0-226-14369-4
2102:
2098:
2094:
2093:
2083:
2081:0-333-73432-7
2077:
2073:
2072:
2067:
2066:Stanley Sadie
2063:
2059:
2058:Parker, Roger
2055:
2051:
2045:
2041:
2037:
2033:
2029:
2027:0-14-029312-4
2023:
2019:
2015:
2010:
2006:
2004:0-304-31058-1
2000:
1996:
1992:
1988:
1985:
1984:0-521-29712-5
1981:
1977:
1974:. Cambridge,
1973:
1969:
1963:
1958:
1954:
1953:
1952:
1951:
1934:
1930:
1924:
1909:
1905:
1899:
1893:
1888:
1881:
1876:
1870:, p. 265
1869:
1864:
1857:
1852:
1846:, p. 103
1845:
1839:
1832:
1827:
1820:
1814:
1808:, p. 244
1807:
1801:
1795:
1790:
1784:
1779:
1772:
1771:
1766:
1760:
1758:
1750:
1745:
1738:
1734:
1731:
1726:
1719:
1714:
1708:, p. 248
1707:
1701:
1694:
1693:
1688:
1686:
1678:
1672:, p. 104
1671:
1666:
1664:
1657:, p. 239
1656:
1651:
1644:
1639:
1637:
1635:
1627:
1622:
1616:, p. 245
1615:
1609:
1603:, p. 984
1602:
1597:
1595:
1593:
1585:
1581:
1580:
1573:
1571:
1566:
1564:
1563:
1548:
1544:
1542:
1536:Ivan Repusic,
1535:
1533:
1532:George Petean
1528:
1523:
1518:
1515:
1512:
1511:
1505:
1503:
1498:
1486:
1483:
1482:
1477:
1473:
1470:
1466:
1461:
1455:Carlo Ventre,
1452:
1449:
1446:
1445:
1440:
1436:
1433:
1428:
1427:Riccardo Muti
1425:
1423:
1418:
1417:Cheryl Studer
1411:
1408:
1405:
1404:
1399:
1395:
1392:
1387:
1386:Riccardo Muti
1384:
1382:
1377:
1376:Cheryl Studer
1372:
1367:
1364:
1361:
1360:
1354:
1350:
1344:
1342:
1335:
1334:William Stone
1330:
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1324:
1323:
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1256:Mara Zampieri
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1175:Riccardo Muti
1173:
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669:
668:
665:
664:Gaetano Mares
659:
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651:
650:
639:
634:
625:
623:
622:Felix Krieger
620:conducted by
619:
615:
611:
607:
603:
599:
595:
594:Miuccia Prada
591:
588:as Odabella,
587:
583:
579:
574:
572:
568:
564:
563:Hasmik Papian
560:
556:
555:Concertgebouw
552:
548:
543:
541:
537:
533:
530:as Odabella,
529:
525:
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517:
515:
514:Edward Downes
511:
507:
504:as Odabella,
503:
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488:
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479:Riccardo Muti
475:
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463:Mara Zampieri
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217:
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215:I due Foscari
211:
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200:Andrea Maffei
192:
183:
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171:
168:Ezio's act 2
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77:'s 1809 play
76:
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32:
27:
24:
20:
3245:
3224:
3196:
3186:
3176:
3166:
3156:
3146:
3136:
3119:(2011 opera)
3114:
3104:
3094:
3084:
3074:
3064:
2948:Recognitions
2934:
2903:
2893:
2874:
2865:
2857:Il trovatore
2856:
2847:
2838:
2829:
2820:
2811:
2802:
2793:
2772:Va, pensiero
2727:Celeste Aida
2709:Anvil Chorus
2686:
2676:
2666:
2656:
2646:
2636:
2626:
2616:
2606:
2596:
2586:
2578:Il trovatore
2576:
2566:
2556:
2548:Luisa Miller
2546:
2536:
2526:
2516:
2508:I masnadieri
2506:
2496:
2487:
2486:
2476:
2466:
2456:
2446:
2436:
2426:
2416:
2406:
2342:Philip Bliss
2320:
2293:
2290:Stefan, Paul
2272:
2255:
2248:
2231:
2214:
2197:
2180:
2163:
2153:
2135:
2118:
2107:(hardback),
2096:
2069:
2061:
2039:
2017:
1994:
1975:
1971:
1968:Roger Parker
1949:
1948:
1936:. Retrieved
1932:
1923:
1911:. Retrieved
1907:
1898:
1887:
1875:
1863:
1856:Baldini 1980
1851:
1844:Baldini 1980
1838:
1826:
1818:
1813:
1800:
1789:
1778:
1768:
1764:
1744:
1725:
1713:
1700:
1690:
1684:
1677:
1670:Baldini 1980
1650:
1621:
1608:
1601:Kimbell 2001
1583:
1577:
1561:
1560:
1506:DVD: C Major
1410:Samuel Ramey
1371:Neil Shicoff
1366:Samuel Ramey
1329:Samuel Ramey
1300:Lajos Miller
1041:
1030:
1026:
1024:
1015:
1011:
998:
988:
984:
982:
978:
977:
968:
964:
963:
958:
954:
948:
944:
943:
929:
921:
917:
915:
911:
910:
905:
897:
895:
883:
882:
872:
868:
866:
862:
861:
856:
848:
844:
836:
833:Urli, rapine
832:
827:
815:
814:
782:
761:Carlo Guasco
752:
736:
712:
692:
674:
637:
590:Ramón Vargas
575:
550:
544:
523:
518:
516:conducting.
491:
477:1989, under
470:Samuel Ramey
467:
440:
431:
416:Donald Smith
412:Rae Woodland
385:
367:
363:
359:I masnadieri
357:
345:
344:
339:
336:
330:
328:
325:19th century
310:
304:
297:
277:
259:
253:
248:
246:
223:
213:
207:
197:
179:
167:
154:
146:
122:
121:
120:
86:
78:
22:
3304:1846 operas
3234:Villa Verdi
3157:La Traviata
3109:(1985 play)
3089:(1953 film)
3079:(1938 film)
3019:Verdi Range
3012:Verdi Inlet
2939:(1889–1897)
2866:La traviata
2601:(June 1855)
2588:La traviata
1960: [
1880:Parker 1998
1868:Budden 1984
1831:Budden 1984
1806:Budden 1984
1749:Lumley 2010
1718:Budden 1984
1706:Budden 1984
1655:Parker 1998
1643:Budden 1984
1626:Budden 1984
1614:Budden 1984
1550:Cat:900330
1508:Cat:721608
1296:Sylvia Sass
1020:cabalettism
1004: [
726:Sophie Löwe
662:Conductor:
616:in 2012 in
582:Pierre Audi
457:as Attila,
301:grand opera
291:Librettist
269: [
240:Librettist
3288:Categories
3227:(Finnissy)
3106:After Aida
3026:3975 Verdi
2803:Don Carlos
2661:(1867/84)
2658:Don Carlos
2651:(1862/69)
2528:Il corsaro
2501:(1847/65)
1770:Opera News
1557:References
1547:BR-Klassik
1317:Hungaroton
1278:CD: Orfeo
1085:Gino Penno
1080:Italo Tajo
1066:Conductor,
1047:Recordings
1031:bête noire
1029:made it a
979:The forest
769:Pope Leo I
711:Odabella,
656:Voice type
522:presented
400:Italo Tajo
392:Gino Penno
303:: "Aren't
261:I Lombardi
102:1846-03-17
49:Librettist
2848:Rigoletto
2621:(1857/81)
2568:Rigoletto
2558:Stiffelio
2518:Jérusalem
2060:(1998). "
2038:(2010) .
1908:Naxos.com
1819:Saint Leo
1349:La Fenice
1061:Odabella,
951:Valentine
751:Foresto,
508:as Ezio,
461:as Ezio,
406:; and at
163:La Fenice
29:Opera by
3252:Category
2972:Florence
2964:Brindisi
2812:Falstaff
2688:Falstaff
2331:Libretto
2292:(1973),
2247:(1931),
2230:(1993),
2213:(1995),
2196:(2007),
2179:(1969),
2152:(1976).
2134:(2006),
1993:(1984).
1904:"Attila"
1733:Archived
1355:CD: Gala
1059:Foresto,
928:prayer (
811:Prologue
801:Aquileia
791:Synopsis
742:baritone
715:Aquileia
691:Uldino,
483:La Scala
247:But, as
136:libretto
112:, Venice
94:Premiere
71:Based on
63:Language
3177:Macbeth
2976:Trieste
2968:Busseto
2924:(1874)
2830:Macbeth
2681:(1887)
2671:(1871)
2641:(1859)
2591:(1853)
2581:(1853)
2571:(1851)
2498:Macbeth
2428:Nabucco
2068:(ed.).
2016:(ed.).
1950:Sources
1938:17 June
1913:15 June
1476:Dynamic
1469:Trieste
1237:Philips
799:Place:
767:Leone (
721:soprano
636:Verdi:
426:, with
255:Nabucco
100: (
66:Italian
3309:Operas
3264:Portal
3200:(2005)
3190:(1987)
3180:(1987)
3170:(1986)
3167:Otello
3160:(1983)
3150:(1953)
3140:(1906)
3137:Otello
3069:(1886)
2916:(1873)
2908:(1862)
2898:(1848)
2839:Otello
2691:(1893)
2678:Otello
2631:(1857)
2628:Aroldo
2561:(1850)
2551:(1849)
2541:(1849)
2531:(1848)
2521:(1847)
2511:(1847)
2491:(1846)
2488:Attila
2481:(1845)
2478:Alzira
2471:(1845)
2461:(1844)
2451:(1844)
2448:Ernani
2441:(1843)
2431:(1842)
2421:(1840)
2411:(1839)
2399:Operas
2321:Attila
2300:
2279:
2262:
2238:
2221:
2204:
2187:
2170:
2142:
2125:
2119:Attila
2111:
2103:
2078:
2064:". In
2062:Attila
2046:
2024:
2001:
1982:
1765:Atilla
1685:Attila
1071:Label
1036:Parker
1027:Attila
1012:Attila
902:Judith
829:Attila
757:tenor
695:Breton
671:Attila
638:Attila
618:Berlin
551:Attila
524:Attila
432:Attila
398:, and
368:Attila
366:. The
364:Attila
346:Attila
331:Attila
249:Attila
209:Ernani
126:is an
123:Attila
23:Attila
3278:Opera
1976:et al
1964:]
1562:Notes
1437:DVD:
1063:Ezio
1054:Year
1008:]
995:Music
974:Act 3
940:Act 2
879:Act 1
774:bass
702:tenor
652:Role
628:Roles
273:]
180:genre
157:) by
128:opera
3187:Aida
3147:Aida
2794:Aida
2668:Aida
2298:ISBN
2288:and
2277:ISBN
2260:ISBN
2236:ISBN
2219:ISBN
2202:ISBN
2185:ISBN
2168:ISBN
2140:ISBN
2123:ISBN
2109:ISBN
2101:ISBN
2076:ISBN
2044:ISBN
2022:ISBN
1999:ISBN
1980:ISBN
1940:2020
1915:2014
1513:2020
1484:2010
1474:CD:
1447:2001
1406:1991
1396:CD:
1362:1989
1325:1987
1315:CD:
1285:1986
1245:1980
1235:CD:
1196:1972
1154:1970
1114:1962
1076:1951
853:Ezio
841:Huns
805:Rome
733:Ezio
680:bass
576:The
492:The
422:and
309:and
258:and
212:and
170:aria
144:play
55:and
1970:),
1767:",
1545:CD:
1398:EMI
934:Leo
225:sic
138:by
3290::
2974:-
2970:-
2966:-
1962:it
1931:.
1906:.
1756:^
1689:,
1662:^
1633:^
1591:^
1584:67
1582:,
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693:a
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624:.
565:,
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2084:.
2052:.
2030:.
2007:.
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1917:.
1821:.
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