Opera for Everyone – Ep. 141: Attila by Verdi
Aired: April 12, 2026
Host: Pat Wright
Guest Co-host: Grant

Episode Overview

This episode of Opera for Everyone explores Giuseppe Verdi's "Attila," an opera steeped in themes of nationalism, the legend of Attila the Hun, and the struggles for Italian unity in the 19th century. Host Pat Wright and co-host Grant break down the historical, musical, and dramatic layers of the opera—making it not just accessible, but thoroughly compelling for both opera newcomers and aficionados. The conversation balances insightful history, musical appreciation, and moments of humor throughout.

Main Themes & Purpose

• Demystifying Verdi’s "Attila": Making the opera’s story, historical context, and musical choices clear and approachable.
• Nationalism and the Risorgimento: Examining Verdi’s involvement in Italian unification movements and how "Attila" functioned as a cultural rallying point.
• Legends vs. History: Dissecting who Attila the Hun actually was versus how he is mythologized in both history and opera.
• Operatic Structure and Notable Moments: Walking through the narrative and musical highlights of Verdi’s opera.

Key Discussion Points and Insights

1. Who Was Attila? History vs. Legend

[Timestamps: 00:40–11:33]

• Attila is “one of these people who was a historical person. He did things, he lived, he died. And also the legends that surround him are in many ways as significant to our culture as anything.” (Grant, 01:07)
• Attila’s name recognition is massive, yet most people don’t know much about the real historical figure.
• The conversation covers the political landscape of the declining Roman Empire and the fluid roles of "barbarian" tribes as both foes and federated allies of Romans.
• The term "barbarian" comes under scrutiny and is explained as originally meaning “someone who doesn’t speak Greek… then used to refer to people outside the Roman Empire.” (Grant, 08:25)
• Comparative notes on Attila and Genghis Khan reveal how the stories of nomadic conquerors are shaped by the cultures they overran—"history is written not by the winners, necessarily, but by the writers." (B, 11:06)

2. Verdi’s Context: Nationalism, Risorgimento, and Opera

[Timestamps: 02:19–05:10]

• Verdi’s operas, especially "Nabucco" and "Attila," were embraced as vehicles of national sentiment during the period of Italian unification (Risorgimento).
• "Verdi becomes a rallying, a calling card of this movement… [his name] used as an acronym for Victor Emmanuel, King of Italy." (B, 03:37)
• Music from these operas, especially choral works, were adapted by the public as unofficial anthems for unity and protest.

3. Operatic Structure & Scene Highlights

Prologue: Barbarian Triumph, Italian Defiance

[Timestamps: 11:33–30:17]

• The opera opens with the Huns celebrating their victory, “glorying in the destruction that they’ve caused among the people they vanquished” (B, 13:27).
• Attila’s entrance underscores themes of might and divine favor (“Odin, or Vodin, invests him with his power” – B, 13:27)
• The musical character of the opera is highlighted: “That is so Verdi. We know Verdi. He does this majestic choral pieces.” (B, 13:27)
• Odabella, the defiant Italian heroine, makes her mark as both object of Attila’s fascination and instrument of revenge.
  • She demands Attila’s sword—"She asks for, of all interesting things, his sword." (A, 28:21)

Early Acts: Interpersonal Dynamics & National Allegory

[Timestamps: 30:17–56:00]

• Odabella is a composite, inspired by legends of Attila's love interests, notably the real-life Honoria. Her presence instills Verdi’s opera with elements of both personal and national vengeance.
• Duets and arias dramatize misunderstandings and resolve as Foresto and Odabella struggle with trust and loyalty ("Fine, hear me or kill me. Let me explain, or let's be done with it. I'm tired of arguing." – B, 50:52)
• Grief, courage, and Biblical allusion emerge—Odabella casts herself as the new Judith, scheming to slay the oppressor.

The Founding of Venice & Venice’s Significance

[Timestamps: 40:18–43:58]

• Refugee Italians, fleeing Attila, found Venice. The opera, premiering in Venice, was “resonant with local pride” (B, 41:13).
• "History moves unpredictably… the refugees who are building huts on the lagoon, maybe they’ll end up being some of the most powerful people in the world." (A, 42:26)

Act 1’s Climax: The Pope’s Intervention

[Timestamps: 67:20–71:42]

• The historic encounter between Pope Leo ("Leo" in the opera, due to censorship) and Attila climaxes with a collective act of nonviolent resistance:
  • "Withdraw from this land because it is the territory of God." (B, 67:20)
• The power of religious "soft power" over martial force is emphasized, underscoring both the mythic and historical weight of the episode.

Act 2–3: Plots, Betrayals, and Musical Showpieces

[Timestamps: 72:59–113:57]

• Ezio’s arias reflect both personal frustration and nationalistic yearning; his offer to Attila—“You may have the universe, but let Italy be mine”—became an actual rallying cry of the Risorgimento. (A & B, 34:59–35:19)
• Conspiracies abound: Foresto, Ezio, and Odabella all seek to assassinate Attila—by poison or by sword.
• "Who gets to drive the car… who gets to murder the guy? …She tells Attila… they were trying to poison you. And Attila's like, what? …Seems like she's sided with Attila, but of course…" (A, 91:38)
• In the final act, psychological drama replaces realism, the characters driven by visions (Odabella’s ghostly father) and personal vendettas. The climactic murder is abrupt—Attila is killed with his own sword by Odabella:
  • "She uses this to, like, make sure that she's the one who gets to go kill Attila." (A, 110:12)
  • His last words, echoing Shakespeare: “And you, too, Otabella." (A, 111:46 | B, 111:57)

Notable Quotes & Memorable Moments

• "History is written not by the winners, necessarily, but by the writers." — Grant (11:06)
• "Verdi becomes a rallying… calling card of this movement to unify Italy." — Pat (03:37)
• “We Italian women, we take action. And he thinks that's pretty hot.” — Pat (30:17)
• "This line becomes important in the risorgimento… You may have the universe, but let Italy be mine" — Grant (35:19)
• “Some people collect stamps. Some people hoard dolls. Some people want all the vengeance, you know?” — Grant (92:48)
• "You get handed a sword in the prologue, it's going to show up in the final scene." — Pat (110:34)
• "And you, too, Otabella" — (Attila's dying words, echoing Julius Caesar, 111:46–111:57)

Timestamps – Essential Segments

• 00:40–05:10: Attila the Hun in history, nationalism & Verdi’s personal stake
• 13:27–30:17: The prologue; Attila arrives; Odabella introduced; sword exchange
• 35:19–36:12: Ezio’s iconic, nationalistic bargain with Attila
• 40:18–43:58: Refugees and the founding of Venice, local meaning in Venice premiere
• 51:39–53:02: Odabella's Judith analogy and plan for revenge
• 67:20–71:42: Pope Leo/Literary “Leo” confronts Attila, turns him away from Rome
• 80:03–82:04: Ezio’s resolve and camaraderie with Foresto; plan against Attila
• 91:19–93:08: Poison cup conspiracy, Odabella intervenes to claim vengeance
• 111:46–111:57: Attila’s final "And you, too, Otabella"—Shakespearean echo

Operatic and Musical Insights

• The opera blends grand choral moments and powerful solo arias, with especially demanding parts for bass (Attila) and soprano (Odabella).
• “It is very unusual to have such a powerful leading role [for a bass].” — Pat (56:14)
• Drinking songs, martial choruses, and duets all add to the Verdian drama—"Verdi is so wonderful at these martial tunes." (100:27–100:48)
• The rapidity of Attila’s death deviates from operatic convention—“the quickest death in opera… un-operatic… he’s stabbed and he dies.” — Pat (110:34)

Language and Tone

The episode maintains an educational, witty, and warm tone, balancing history lessons with in-the-moment humor:

• “You know, sometimes she's just not that into you.”—Grant (97:27)
• “Fine, hear me or kill me. Let me explain, or let's be done with it. I'm tired of arguing.”—Pat, channeling Odabella (50:52)

Conclusion

Pat and Grant ultimately frame "Attila" as both reflective of 5th-century upheaval and a coded message for 19th-century Italian audiences yearning for unity and justice. Verdi’s music, the power of myth, and the fraught joys of nationalism and personal vengeance come together in a dynamic, if at times brutally condensed, operatic package.

• “In this opera, there’s that moment of hope… the idea that maybe it’ll all come together, maybe it’ll all work out.” — Grant (113:28)
• “Opera can be challenging, but everyone loves a good story and a story set to music is even better.” — Pat (119:18)

Recommended for:
Listeners interested in the intersection of history, myth, music, and national identity; those curious about Verdi’s lesser-known works; anyone who loves a dramatic story brought to life through conversation and great music.

Listen for more:
Opera for Everyone podcast, Sundays 9–11 am MT on KHOL 89.1, Jackson, WY, or subscribe wherever you get your podcasts!