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Hun more for the road

Photo by Ken Howard, courtesy of the Metropolitan Opera, via fashionista.comLa Cieca has the first top-secret highly classified eyes-only report from inside the hermetically sealed Attila dress rehearsal at the Met.  Our spy  (possibly pictured above) speaks out –  after the jump, naturally. 

UPDATE, Acts 2 and 3: La Cieca’s spy adds that Carlos Alvarez canceled after the first half, “though he didn’t sound sick.” Costumes “continue runway-worthy, like Hugo Boss on a beaver hunting expedition, superb tailoring.” The staging, though, our spy found “inept and boring.”

FURTHER UPDATE: Photos of a dress rehearsal of Attila (minus those annoying watermarks) are posted by Friend of the Box Nick Scholl over at fashionista.com. [Above photo by Ken Howard, courtesy of the Metropolitan Opera, via fashionista.com.]

Going great so far [Prologue and Act 1]: MUTI AMAZING.

The costumes are runway-ready, all industrial leather and fur and boots and crumpled textures like “downtown chic”. Sometimes looks rather silly: “Like my fur? It’s Prada, baby!”

The Roman soldiers carry shields that look to me like enormous iPods. Coincidence? I think not! (Unsure what connection would be, however!)

The chorus dressed in jeans and rumpled designer t shirts and reminds me of Mark Morris Orfeo just a bit.  Are they a religious cult?

The prologue is staged atop a concrete rubble pile that looks like Hunters Queens. Act one has a lovely lush green terrarium look. There’s certainly nothing really wild or, to be honest, all that interesting going on. the singing is ok but only Ildar Abdrazakov is a standout.

We have no photos yet, so La Cieca is going to assume [accurately! - LC] the opera looks sort of like this:

johnny_furs

More after part two.

71 comments

  • callasorphan says:

    Manou, Bette in her prime could really swatt--I miss her. I do love to see a good swatt when sung or acted.

  • Cabbage Nichka says:

    The production is a horror, but first of all, one must curse Prada for designing clothes that are silly-looking, inelegant and so extremely badly cut! Nothing fits correctly at all. Who in their right mind would put a woman of Urmana’s size and shape in a shiny, gold, fitted (but not fitting) dress? The Elsa Lanchester wig only completes the picture. The lighting is appalling--the huge storm that is supposed to break out at the banquet looks like a high school production (and the banquet table cloth looks like it was purchased at a closeout store). There is no staging at all, but my favorite bit is the seemingly dead choristers in the Prologue coming to life to sing the responses to Odabella’s cabaletta, and then plopping back down dead afterwards. The Prologue set is ugly and dangerous. Urmana WAS marking, but even what she sang did not sound suited to this early Verdi dramatic coloratura role. With the sound of Sutherland’s “Santo di Patria” ringing in my ears, I was prepared for a downgrade, but not that much. The juice is gone from Vargas’ voice--he now sounds like Jan Peerce in his last years. Ildar--fine, the best in the cast, but no young Sam Ramey. Alvarez marked, and sounded alright--I was surprised at his withdrawal mid-rehearsal, and, for me, Maione just sang wide open, in an uncontrolled manner in the second half.

    But the chorus and orchestra under Muti were tremendous! I am not a fan of Muti’s usually, but this rehearsal made me one.

  • rommie says:

    god all these complaints! lol. i guess ignorance really is bliss as i will be seeing this for the first time on wednesday and i havent at all listened to the recording la cieca posted.