Attila is an album by Italian singer Mina, issued in 1979. Released as a double album in the winter of 1979, Attila was an immediate success and is one of the top 3 best-selling albums of the singer's career. At just sixteen years old, Mina’s son Massimiliano Pani made his debut as a songwriter with two tracks entitled: Sensazioni and Il vento. Anche un uomo was the ending theme of the TV quiz show Lascia o raddoppia? Written by Mike Bongiorno, Anselmo Genovese and the famous "Mr. No" Ludovico Peregrini. Don’t take your love away is a cover of a song written by Isaac Hayes; the song is the longest track recorded by Mina. The track Un po' di più'was sung by Patty Pravo and included on her album Sì... incoerenza in 1972. The song Rock and roll star and Anche tu were recorded by Mina is Spanish under the titles Estrella del rock e También tù, respectively; these two songs were included on the Spanish version of'‘Attila'’. The album cover is signed by Luciano Tallarini, on photographs of Mauro Ballets reworked with the airbrush by Gianni Ronco.
The album cover won the prize for best cover of the year and is displayed at the Museum of Modern Art in New York. ArtistMina – voiceArrangersRudy Brass – track 5 / track 9 Beppe Cantarelli – tracks 1, 3, 4, 7, 9 / tracks 4, 5 Giulio Libano – track 2 Mike Logan – track 3 Massimo Salerno – track 6 Shel Shapiro – tracks 6, 8 / tracks 1, 2 Celso Valli – track 8
Attila is a genus of tropical passerine birds, the attilas. They belong to the tyrant flycatcher family; the species in this genus hooked bills. The genus contains seven species: Rufous-tailed attila Cinnamon attila Ochraceous attila Citron-bellied attila White-eyed attila Grey-hooded attila Bright-rumped attila Some authorities, either presently or recognize additional species as belonging to the genus Attila including: Red-tailed bristlebill Hilty, Steven L.: Birds of Venezuela. Christopher Helm, London. ISBN 0-7136-6418-5 Stiles, F. Gary & Skutch, Alexander Frank: A guide to the birds of Costa Rica. Comistock, Ithaca. ISBN 0-8014-9600-4Specific
Attila Marcel is a 2013 French comedy film written and directed by Sylvain Chomet. Guillaume Gouix as Paul Anne Le Ny as Madame Proust Bernadette Lafont as Aunt Annie Elsa Davoine as Young Aunt Annie Hélène Vincent as Aunt Anna Laetitia Poulalion as Young Aunt Anna Jean-Claude Dreyfus as M. Kruzinsky Luis Rego as M. Coelho Fanny Touron Cyril Couton Vincent Deniard The film was produced through Eurowide Film Production; the budget was 6,7 million euro. Filming lasted 46 days; the film premiered in the Special Presentation section at the 2013 Toronto International Film Festival. It was released in France by Pathé Distribution on 30 October 2013, it had 43,645 admissions in France. Attila Marcel has been met with mixed critical response from the French press with Le Parisien scoring it 5/5 whilst the influential Cahiers du cinéma scored it 1/5. Collating press reviews French online film site Allocine reports an average press critic score of 3.2/5 within France. Boyd van Hoeij of The Hollywood Reporter wrote: "Both tonally and esthetically, the film's a new twig on the family tree that started somewhere before Jacques Tati and branched out to include works from such noted French-language filmmakers as Jacques Demy, Jaco Van Dormael, Jean-Pierre Jeunet and Michel Gondry.
With its eye-popping production and costume design. Hoeij continued: "Carlos Conti's production design feels whimsical but organic and is in synch with Olivier Beriot's costume design.... The score and songs evoke times past." Attila Marcel on IMDb
Attila called Attila the Hun, was the ruler of the Huns from 434 until his death in March 453. He was the leader of a tribal empire consisting of Huns and Alans among others, in Central and Eastern Europe. During his reign, he was one of the most feared enemies of the Eastern Roman Empires, he plundered the Balkans, but was unable to take Constantinople. His unsuccessful campaign in Persia was followed in 441 by an invasion of the Eastern Roman Empire, the success of which emboldened Attila to invade the West, he attempted to conquer Roman Gaul, crossing the Rhine in 451 and marching as far as Aurelianum before being defeated at the Battle of the Catalaunian Plains. He subsequently was unable to take Rome, he planned for further campaigns against the Romans, but died in 453. After Attila's death, his close adviser, Ardaric of the Gepids, led a Germanic revolt against Hunnic rule, after which the Hunnic Empire collapsed. There is no surviving first-hand account of Attila's appearance, but there is a possible second-hand source provided by Jordanes, who cites a description given by Priscus.
He was a man born into the world to shake the nations, the scourge of all lands, who in some way terrified all mankind by the dreadful rumors noised abroad concerning him. He was haughty in his walk, rolling his eyes hither and thither, so that the power of his proud spirit appeared in the movement of his body, he was indeed a lover of war, yet restrained in action, mighty in counsel, gracious to suppliants and lenient to those who were once received into his protection. Short of stature, with a broad chest and a large head. Many scholars have argued. Omeljan Pritsak considered Ἀττίλα a composite title-name which derived from Turkic *es, *t il, the suffix /a/.:444 The stressed back syllabic til assimilated the front member es, so it became *as.:444 It is a nominative, in form of attíl- with the meaning "the oceanic, universal ruler".:444 J. J. Mikkola connected it with Turkic āt.:216 As another Turkic possibility, H. Althof considered it was related to Turkish atli, or Turkish at and dil.:216 Maenchen-Helfen argues that Pritsak's derivation is "ingenious but for many reasons unacceptable",:387 while dismissing Mikkola's as "too farfetched to be taken seriously".:390 M. Snædal notes that none of these proposals has achieved wide acceptance.:215-216 Criticizing the proposals of finding Turkic or other etymologies for Attila, Doerfer notes that King George VI of England had a name of Greek origin, Süleyman the Magnificent had a name of Arabic origin, yet that does not make them Greeks or Arabs: it is therefore plausible that Attila would have a name not of Hunnic origin.:31-32 Historian Hyun Jin Kim, has argued that the Turkic etymology is "more probable".:30M.
Snædal, in a paper that rejects the Germanic derivation but notes the problems with the existing proposed Turkic etymologies, argues that Attila's name could have originated from Turkic-Mongolian at, adyy/agta and Turkish atli, meaning "possessor of geldings, provider of warhorses".:216-217 The historiography of Attila is faced with a major challenge, in that the only complete sources are written in Greek and Latin by the enemies of the Huns. Attila's contemporaries left many testimonials of his life, but only fragments of these remain.:25 Priscus was a Byzantine diplomat and historian who wrote in Greek, he was both a witness to and an actor in the story of Attila, as a member of the embassy of Theodosius II at the Hunnic court in 449. He was biased by his political position, but his writing is a major source for information on the life of Attila, he is the only person known to have recorded a physical description of him, he wrote a history of the late Roman Empire in eight books covering the period from 430 to 476.
Today we have only fragments of Priscus' work, but it was cited extensively by 6th-century historians Procopius and Jordanes,:413 in Jordanes' The Origin and Deeds of the Goths. It contains numerous references to Priscus's history, it is an important source of information about the Hunnic empire and its neighbors, he describes the Hunnic people for a century after Attila's death. Marcellinus Comes, a chancellor of Justinian during the same era describes the relations between the Huns and the Eastern Roman Empire.:30Numerous ecclesiastical writings contain useful but scattered information, sometimes difficult to authenticate or disto
Attila is a 2001 American television miniseries set during the waning days of the Western Roman Empire, in particular during the invasions of the Huns in Europe. The narrative of the miniseries follows Attila the Hun during his rise to power, violent unification of the Hunnic tribes, subsequent campaigns, first against the Eastern Roman Empire, against the Visigoths and the Western Roman Empire as well. A parallel narrative follows Roman general Flavius Aetius, Attila's primary antagonist, who works vigorously to keep the Western Empire intact despite factional politics, a weak emperor, a steady stream of barbarian invasions. Gerard Butler as AttilaRollo Weeks as Young Attila Powers Boothe as Flavius Aetius Simmone Jade Mackinnon as N'Kara/Ildico Reg Rogers as Valentinian III Alice Krige as Placidia Pauline Lynch as Galen Steven Berkoff as Rua Andrew Pleavin as Orestes Tommy Flanagan as Bleda Kirsty Mitchell as Honoria Jonathan Hyde as Flavius Felix Tim Curry as Theodosius II Janet Henfrey as Palcharia Liam Cunningham as Theodoric I Richard Lumsden as Petronius Mark Letheren as Thorismund Jolyon Baker as Mundzuk David Bailie as The Shaman Isla Fisher as Cerca The miniseries was released on DVD November 5, 2002 by Universal.
Most historians contended that the Huns were of Turco-Mongol descent, as opposed to Caucasian as portrayed here - a small few however have now discount any connection with the Mongolian Xiongnu and point out that whatever their original point of origin, by Attila's time they had intermarried with western tribes. In fact at least one Hun in the film is made up to look'mongoloid' - although oddly his uncle and brother are not. There is no evidence that Attila spent time in Rome, although Aetius was a hostage for a time among the Huns; the Romans are portrayed in standard Hollywood terms, decadent pagan orgies and all - whereas in reality by this stage they had converted to Christianity. Aetius does, however, at one point in the series, mention; the film depicts the Battle of Châlons as the last major campaign of Attila's career omitting his campaign the following year in Italy, during which he nearly sacked Rome but withdrew after meeting with Pope Leo I and Roman officials. The film depicts Orléans as having fallen to Atilla's advance, when in reality its defenses repelled his assault.
Attila's first wife, N'kara, is fictional as is the daughter of Aetius/Theodoric - although the fact that Attila had adult sons by his death does suggest that he had been married before - many times. Aetius, did have a son named Gaudentius; the Roman helmets that appear here are the classical Roman helmets, although they had in reality abandoned this armor for the more cost efficient Ridge helmet The Roman shields and weapons resemble that of the early Roman army instead of the late one. Both Roman and Hun riders use stirrups, at times horseshoes, which were not introduced into Europe until several centuries later. All the swords shown in the film are much too short - in fact every army in the period used some variant of the spatha or longsword as this gave a much longer reach used from horseback; the siege engines used by the Huns are trebuchets operated by counterweights which did not reach Europe until centuries after Attila - rather they should have been torsion-powered catapults. The Roman Emperor Valentinian III is depicted as childish and idiotic, while in truth he was a mature but incompetent ruler.
Galla Placidia and Theodosius II were dead by the time Valentinian murdered Aetius. There are no records that back up the notion that Aetius shared the same wife; the Roman Army's uniforms are anachronisms by the time of the 5th century. As with many films portraying the waning days of the Roman Empire, the Rome is still the titular capital city. From the time of Diocletian, emperors spent little time in Rome. Milan was the principal seat of emperors in the West -- better situated to respond to emergencies -- until 404 when the government was relocated to Ravenna. Valentinian III was resident there when he was assassinated. While Theodoric was killed in the battle, the perpetrator was either an anonymous Hun, or Andag, an ambitious fellow Goth. There are no historians. Atilla did not kill Bleda after their uncle's death. In fact they were co-rulers for 11 years. While it is speculated that Atilla did murder his brother, it was not done in a public challenge. Aetius was never imprisoned by Galla Placidia for his stance against her and Valentianian III, although he did support Joannes over Galla Placidia's son Valentinian III for ruling of the Western Roman Empire and did fight Galla Placidia's support army from the Eastern Empire of Theodosis II's general Aradaburius.
Aetius was able to negotiate a compromise. Aetius was proclaimed magister millitum of Gaul by Galla Placida. List of historical drama films List of films set in ancient Rome Attila on IMDb
The Glorious Burden
The Glorious Burden is the seventh studio album by the American heavy metal band Iced Earth. It is a concept album, which explores various moments in military history, such as the signing of the Declaration of Independence, the American Revolutionary War, Waterloo, it pays tribute to world events such as World War I, the World Trade Center attacks and the ravages of Attila the Hun. See the track list for links to the historical context of the songs; the album includes a trilogy entitled Gettysburg. Each of the three songs represents one day in the Battle of Gettysburg, the largest battle conducted in the Western Hemisphere and considered the turning point in the American Civil War; this album features the debut of lead singer Tim'Ripper' Owens of Judas Priest. Owens, who at that time was still in Judas Priest, was asked to do the vocals as a side project. However, he joined the band full-time after Judas Priest reunited with Rob Halford; the album was first recorded with Matt Barlow on vocals, but band leader Jon Schaffer was not satisfied with his performance.
Due to the events of September 11, Barlow became more interested in law enforcement than the music business, according to Schaffer "Matt's heart was not in it and it showed in his performance." As a result, Matt left the album was shelved until a new vocalist could be found. However, some of Barlow's initial recordings remain on the record as backing vocals, he is credited with co-writing two songs; this record is the only Iced Earth album to feature Ralph Santolla on lead guitars. This was the last studio album for drummer Richard Christy; the album was released in three different formats: a limited edition two-disc version in digipak format, an American version and a European version. See the track list for the differences. "The Reckoning", "Declaration Day", the acoustic version of "When the Eagle Cries" were all released as music videos
Attila is an opera in a prologue and three acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on the 1809 play Attila, König der Hunnen by Zacharias Werner. The opera received its first performance at La Fenice in Venice on 17 March 1846. Ezio's act 2 aria of heroic resolution È gettata la mia sorte is a fine example of a characteristic Verdian genre, it achieved fame in its own time with audiences in the context of the adoption of a liberal constitution by Ferdinand II. Other contemporary comment praised the work as suitable for the "political education of the people", while, in contrast, others criticised the opera as "Teutonic" in nature. Verdi had read the ultra-Romantic play in April 1844 introduced to it by his friend Andrea Maffei who had written a synopsis. A letter to Francesco Maria Piave had included the subject of Attila as opera number 10 on a list of nine other possible projects, in that same letter, he encouraged Piave to read the play, which musicologist Julian Budden describes as having "sprung from the wilder shores of German literary romanticism all the Wagnerian apparatus - the Norns, the sword of Wodan, the gods of light and the gods of darkness."
He continues: "It is an extraordinary Teutonic farrago to have appealed to Verdi". Verdi works with Solera But, as Attila 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 convinced him to relinquish the project preferring to work with Solera, his librettist for both Nabucco and I Lombardi, 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 Baldini speculates that, in returning to Solera, he was more comfortable working with a librettist, more suited to "sketching epic sagas and historical-religious frescoes. Solera's approach to the project was to emphasize an appeal to Italian Venetian, 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 inventing it.
But the pace began to slow as, illness limited the composer's ability to do much work. 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. Verdi returns to Piave 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 over the use of stage bands in the context of the composer claiming to think in terms of his work being a grand opera: "Aren't Guillaume Tell and Robert le Diable grand operas? Yet they don't contain a band." And the differences between Piave's version and what Solera had conceived were so great as to cause a final rift between Verdi and his long-time collaborator. 19th Century 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 Attila to their hearts" and he adds that the Roman general Ezio's aria - Avrai tu l'universo, resta l'Italia a me - brought forth spontaneous cheers".
After its world premiere in 1846 in Venice, the opera went on to be produced in all of the major Italian cities, a total of over 25 productions, including one in Palermo under the title of Gli Unni e I Romani 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. Attila was first produced in London in 1848 by Benjamin Lumley who, as impresario at Her Majesty's Theatre, had presented Verdi's I masnadieri there in 1847. In his 1864 autobiography he notes that "none of Verdi's works had kindled more enthusiasm in Italy or crowned the fortunate composer with more abundant laurels than Attila; the Attila premiere featured Sophie Cruvelli, Italo Gardoni and Cruzzoni. The opera was first given in New York City in 1850.20th Century and beyond In the 20th century, it was revived in concert performance during Venice Festival of 1951 with Caterina Mancini, Gino Penno, Giangiacomo Guelfi, Italo Tajo, under the conductor Carlo Maria Giulini.
There was a Rome revival a year then productions in Trieste in, in Buenos Aires in, in Berlin in, in 1972 Attila was performed at the Edinburgh Festival and in Florence. On 21 December 1980, the Vienna State Opera presented a new production conducted by Giuseppe Sinopoli, staged by Giulio Chazalettes; the cast included Nicolai Ghiaurov as Attila, Piero Cappuccilli as Ezio, Mara Zampieri as Odabella, Piero Visconti as Foresto. From 1981 onwards the role of Attila was taken up by the American bass, Samuel Ramey, who made his first appearances at the New York City Opera in March 1981 in the opera which had not been seen in the city for one hundred and fifty years. Throughout that decade Ramey "unquestionably rack up more performances in the role than any bass