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Aida (2010)

 NR |  DVD
3.2 out of 5 stars  See all reviews (4 customer reviews)

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Product Details

  • Format: Multiple Formats, Classical, Color, NTSC, Widescreen
  • Language: Italian (Dolby Digital 5.1), Italian (PCM2 .0)
  • Subtitles: German, French, Spanish, Italian, English
  • Region: All Regions
  • Aspect Ratio: 1.78:1
  • Number of discs: 1
  • Rated: NR (Not Rated)
  • Studio: C Major
  • DVD Release Date: June 29, 2010
  • Run Time: 135 minutes
  • Average Customer Review: 3.2 out of 5 stars  See all reviews (4 customer reviews)
  • ASIN: B003IP2YE4
  • Amazon Best Sellers Rank: #458,330 in Movies & TV (See Top 100 in Movies & TV)

Special Features

None.

Editorial Reviews

Iain PAterson, Iano Tamar, Tatiana Serjan, and Rubens Pelizzari star in this 2009 Bregenzer Festspiele, Seehuehne production of the Verdi opera with Carlo Rizzi conducting the Camerata Silesia, Polish Radio Choir Krakow, Bregenzer Festspielchor, and Vienn

Customer Reviews

3.2 out of 5 stars
(4)
3.2 out of 5 stars
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Most Helpful Customer Reviews
22 of 27 people found the following review helpful
1.0 out of 5 stars More pain for suffering Aida June 21, 2010
By Gosta
I do not consider myself an ultra conservative opera fan. I enjoy innovative ideas and minimalist staging. I can accept certain liberties from directors who move the original story to alternative contexts. It is not the excess of liberties the worst in this production (and liberties there are at discretion!): it is just the poor quality of the outcome. This production does not suggest new ideas or a different approach to the story of suffering Aida; it is just excentric for the sake of excentricity. I am not advocating for the missing elephants during the triumphal march, but the awful choreography in this production does not add much attractive. I miss the good singing, the good acting, the beautiful staging and even the good dancing. The principals are simply not up to the demands of their roles or their singing is frankly irregular. The use of microphones in an open space may have something to do with this, but in any case we are not in presence of impressive singers. Save your money and go to the very traditional but still unmatched Met production of the 90s (Levine, Zeffirelli, Domingo et al). If you are not a Zeffirelli fan, wait until the Muti production (with Valayre and Cura as principals) is released, if ever.
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10 of 13 people found the following review helpful
4.0 out of 5 stars Graham Vick's Aida July 3, 2010
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I was eager to see this production because it is directed by Graham Vick, an opera director whose work I almost always admire. Overall, I liked a lot of his ideas (but then I was disposed to), however, there were also some problems.

The "lake stage" at Bregenz is a strange venue, and difficult to film properly, I think. The orchestra is actually playing its part in a building nearby, while the singers listen to the orchestral part piped in through speakers and sing into little headset microphones that they wear throughout the performance. Performance starts at dusk and soon it becomes dark enough for the spectacular and very large sets to shine. Because the stage is so huge, directors sometimes put a lot of funny extra stage business all around the margins--which might work in person but is distracting when the video director tries to capture it all. The video director here in this Aida makes the mistake of trying to encompass everything and not going in for enough closer shots (Aida is a human drama after all). I don't want extreme close ups, but a waist length shot once in a while is good. Overall, the camera movement is often incoherent and you can't even really tell where the principles are on the scene sometimes.

Another important note: the performance is VERY heavily cut. Apparently, festival goers at Bregenz have to get out of the performances by 11:30 (or some time) in order to catch the last city trains and buses, and they don't run very late...so they cut the score for longer operas to fit, and they don't have an intermission.

The production itself: Giant statue of liberty in ruins...
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1 of 1 people found the following review helpful
4.0 out of 5 stars A nontraditional grand Aida July 23, 2012
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I highly recommend this production of Aida. I have seen several of the Bregenz operas and have found them all to be enjoyable -- none of them is a clear first choice in that each is "risky" and has casts that can not vocally match the best of the competition. Nevertheless, as a total entertainment package, I have found these productions to be far superior to most opera DVDs. One of the reasons is that the stage is an enormous platform on the edge of a lake; the productions are filmed at dusk, so the background darkens as the opera proceeds which allows for some striking lighting effects. (I would urge anyone unfamiliar with this venue to sample one of the excerpts that can be found at Youtube.) The orchestra is out of sight (literally that is), and the singers are miked. In general, the balance between orchestra and singers is pretty good.
Ok, on to this Aida. If you're primary love is top notch vocalism, then you may want to put on your CDs (lots of good ones avaible such as Milanov/Bjorling/Perlea for the best voices or, perhaps, Nilsson/Corelli/Mehta if you want to be nailed to the back of your chair). The 4 principals in this production are certainly adequate; Aida and Amneris are up to the task; Radames gets better as the evening progresses; Amonasro is less memorable (but the role is pretty thankless anyway). For me, the final scene was worth the price of admission because the vocalism and staging come together to create a powerful conclusion. What is undoubtedly most controversial about this production is the staging. Words can't do it justice; as with other Bregenz productions, there is an element of Cirque de Soleil in the staging with scads of extras, dancers, and acrobats.
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1 of 1 people found the following review helpful
4.0 out of 5 stars Really Interesting Production August 14, 2011
This production of Verdi's Aida features some very unconventional sets, made even more unique for having been staged over water. The set itself features pieces/ruins of the Statue of Liberty, floating stage elements, and boats that priestesses, prisoners, and other characters arrive and leave on. Initially this is a bit distracting in that you have characters wearing rain-slickers and boots, but the Wiener Symphoniker under Carlo Rizzi do a fine job with Verdi's score and the principles are in good voice - and once I relaxed into it, I thoroughly enjoyed the production. The imagery was also interesting in that extras could and did disappear into the water providing a subconscious life/death feeling to various actions on "stage".

As for the principles themselves, Rubens Pelizzari does a good job as Radames, but the two stand-outs for me were Tigran Martirossian and Tatiana Serjan - her vocal work as Aida was wonderful, and it would be a treat to hear her without the necessary aid of head-worn microphones necessary for this production.

If you have seen Aida before and really want to see the pageantry of the Triumphal March with live animal work and traditional sets, this is not the production for you. But if you are open to seeing an interesting and differently staged interpretation with good, solid performances, this is definitely worth a look.
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