Eve Queler photo by Steve J. Sherman Samuel Ramey Photo by Christian Steiner
On April 23, Maestra Eve Queler and her Opera Orchestra of New York (OONY) proffered a concert performance of Giuseppe Verdi's early opera " Attila," at Carnegie Hall, starring Samuel Ramey and Lauren Flanigan, which made for an evening of blessedly old fashioned, lusty vocalism. Ramey, who sang Attila in several seasons, starting two decades ago, during his tenure as premier bass of New York City Opera, made a welcome return to the role of the King of the Huns and so-called "Scourge of God." Flanigan has stretched and broadened her silvery soprano to accommodate music of formidable early Verdi heroines Abigaille, in "Nabucco," and Lady Macbeth, so it is little wonder that she chose to tackle their warrior sister Odabella here as well. Queler and her players began this presentation aptly with a dramatic and rhapsodic account of the work's now thundering, now poignant prelude.
Ramey introduced himself by sonorously greeting his troops. The crowning jewel of his portrayal was his polished bel canto, fear-filled narrative concerning his nightmare about a holy man challenging his supremacy, capped by a vehement vow to defy this foe ("Mentre gonfiarsi l'anima … Oltre a quel limite"). He conveyed the protagonist's shock when his dream came true, kicking off the grand ensemble finale to Act One, and forcefully commenced Attila's last stand against his enemies, before succumbing to Odabella's dagger, in the climactic quartet.
Flanigan delivered a ferocious martial creed, "Santo di patria … Allor che i forti coronno," complete with impressive coloratura flourishes. The fluent, highly ornamented reiteration of her sizzling call for liberation, "Da te questo or m'è concesso," more than made up for a missed high note at the top of a demanding, wide-ranging run between the verses. In contrast, she floated a no less intense, dulcet reflection on her father, slain by Attila, and her love Foresto, from whom she has been separated, in her quiet cavatina, "Oh! nel fuggente nuvolo." Her voice, unsurprisingly, rang out over all in the big ensembles.
Tenor Francisco Casanova, as Foresto, delivered an ardent entrance romanza, "Ella in poter del barbaro," about his beloved Odabella, captive of Attila, concluding with patriotic oath "Cara patria, già madre e reina," its repetition lightly embellished. He and Flanigan had an emotional confrontation, "Sì, quello io son," in which Odabella defended herself against his charge that she betrayed love and country for Attila. Harmony reigned, after she explained her plan to avenge her father's death, in their jubilant "Oh, t'inebria nell' amplesso," with consecutive cadenzas, his and then hers, between verses, their celebration sealed with an onstage kiss. In his later cavatina, " Che non avrebbe misero," Casanova's Foresto responded plaintively, with restraint, to his presumed loss of Odabella to the tyrant after all.
Sichuan born and Shanghai trained C. Y. Liao displayed a strong baritone in Roman general Ezio's powerful confrontation with Attila, punctuated with his and Ramey's interpolated high notes. The duet's famous refrain "Avrai tu l'universo,/Resti l'Italia a me" ("You may have the universe,/But let Italy remain mine"), which so stirred the Italians, chafing under Austrian rule, found Liao in full cry, as did his commanding "Dagli immortali vertici … "E' gettata la mia sorte," expressing determination to save Rome.
Queler admirably coordinated a precise second act quintet, ably augmented by tenor Joel Sorensen as Attila's slave, Uldino, and the chorus, contemplating portents of Attila's downfall and ensuing fiery response to Foresto's attempt on the king's life, as well as Flanigan, Casanova and Liao's soaring trio in Act Three. Bass-baritone Jason Grant completed the cast as Pope Leo, issuing imposing orders to Attila. Entrusted with rousing battle cries, paeans to their ruthless leader, and drinking song; fervent prayer and wedding hymn; and ominous prediction of Attila's doom, the Opera Orchestra Chorus, directed by Italo Marchini, dispatched its assignment with distinction. OONY concludes its season at Carnegie on May 19 with Gioachino Rossini's "La Donna del Lago," with Ruth Ann Swenson, Bruce Fowler and Stephanie Blythe, under Queler's baton.
Carnegie Hall, 881 7th Avenue at 57th Street
Tickets $24-110 212/799-1982