Customer Reviews

RCA Opera Treasury - Verdi: Aida / Leinsdorf, Price, Domingo, Milnes, Bumbry, et al

5 star:		(9)
4 star:		(5)
3 star:		(1)
2 star:		(2)
1 star:		(0)

 

 

This particular recording of Verdi's "Aida" has provoked a great deal of discussion amongst opera-lovers and critics alike since its release in 1970. Much of the furor centered on the American operatic diva Leontyne Price, universally regarded as one of the greatest Aidas ever, and this, her 2nd recorded performance of the role. Most become mired in subjective comparisons between Ms. Price's vocalism and interpretation on the legendary Solti/ Decca "Aida" made in the '60s, and this recording, released on RCA in 1970. There is little need for such debate. "Aida" has enjoyed no greater performer of the role than Leontyne Price! Here, Ms. Price's voice has grown notably darker in color, the middle voice heavier and lusher in texture. Her lower voice has more bite (and more chest)and husk. The upper voice hasn't lost much(vibrancy),and has gained a creamier, velvety richness that yields sublime soft 'pianos'("Numi pieta"..."O Patria mia"...the Nile Scene...and "O terra,addio") and produces the 'con forza' neccessary for the climaxes in the opera. Ms. Price has stated that the key to performing this role(for her)is in recognizing that Aida is a Royal Ethiopean princess, and that attitude is prevalent in her performance here. The conception is grander, more regal, and pointed in relation to her earlier assumption with Solti. The diva uses her impressive vocal 'palette' to color the texts, illuminating the various dramatic situations expertly, no more so than in the Nile Scene where Aida must express sorrow in the aria, joy, then revulsion & terror in the duet with Amonasro, and then seduce Radames into duplicity. Ms. Price reigns supreme there, and is triumphant throughout in this recording. Comparisons be damned, Leontyne Price is unbeatable as Aida on recordings. Her Radames, tenor Placido Domingo, has recorded his role (3) times. He sings here with a youthful vitality that's appropriate for the ambitious Egyptian captain in love with Aida. Mr. Domingo's voice is darkly beautiful, with a distinct vibrancy in his middle voice that blossoms into a firm, full-bodied spinto upper voice that 'rings' on top. He's ardent in the love scenes, heroic in the climaxes, and uniquely successful at portraying Radames' vulnerability, making Aida's seduction in the Nile Scene and "Celeste Aida" more convincing than usual. Mr. Domingo's use of 'mezza voce' is never more appreciated than in "O terra addio", the opera's finale, where he & Ms. Price sing a soft, glowing "farewell" to earth that is heartbreaking. Mezzo-soprano Grace Bumbry recorded the role of the Egyptian princess Amneris once before this performance. This role is one of her most famous creations, and she demonstrates the reason for such acclaim here. Ms. Bumbry's voice is sable- rich in texture, with a dark, pulsing middle voice, powerful high notes, and a deep, resonant chest voice that's singular in its beauty. 'Amneris' is a three-dimensional character in Ms. Bumbry's hands, and vocally, the mezzo-soprano is superb at presenting the crafty, volatile, passionate nature of Aida's nemesis. Ms. Bumbry's voice alternately purrs beguilingly, snarls with fury, urgently pleads, and is plaintive when the drama demands it, all on display in her Act III duet with Mr. Domingo,and the explosive Judgement Scene that follows. She is a magnificent Amneris. Baritone Sherrill Milnes added the role of Aida's father 'Amonasaro' to the stellar list of Verdi roles he's renowned for with this recording. His portrayal is also more youthful than usual, but loses none of the dignity and stature that Verdi invested in the music. Mr. Milnes uses his voluminous instrument with a musical intelligence that is largely missing in his rivals' interpretations. His singing is nuanced, purposeful, & incisive, utilizing the strong, firmly- voiced middle to contrast with a superior upper extension, that balances his weak lower register(though not a great factor in this role). Mr. Milnes' duet with Ms. Price in the Nile Scene sizzles! The role of 'Ramphis' is intoned by basso Ruggiero Raimondi, whose vocalism is well-produced but static. (With rare exception, so are his rivals.) Maestro Erich Leinsdorf lacks the imaginative 'spark' that could have lifted this performance to definitive greatness, and instead, conducts a 'practised', thoroughly competent, and musically correct account of this GRAND opera. We are most fortunate that the cast is able to bring their own artistry & vision to the proceedings, and not be too influenced by the maestro's equanimity with the score. This recording has been re-mastered digitally, and the sonics are quite lively and true. There are indeed other more creatively- conducted performances, that feature 'Aidas' of great vocal beauty (Caballe, Milanov,Tebaldi,L.Price) & other superlative artists ( Cossotto,Simionato,Barbieri/ Bergonzi,Corelli,Tucker/ Merrill,Gobbi,Warren), but this performance has something its rivals don't: a sterling quartet of supreme Verdians that includes 'Aida assoluta' Leontyne Price!!

Leontyne Price, Placido Domingo, Sherrill Milnes, and Grace Bumbry: four of the most amazing artists I've ever heard. It's too bad that RCA didn't use better equipment to record it. There is a lot of back space in the sound and at times, the singers' voices get too powerful and high notes turn into static. All recording injustices aside, Price gives another powerful performance as Aida. Her "O patria mia" is not to be missed and displays her amazing vocal talent, especially the control she has as she descends from high, climactic points to lower notes. Placido Domingo is a little sterile as Radames, but Bergonzi is the only other tenor that I liked more in the role. Sherrill Milnes is at his usual best, which is nothing short of extraordinary. Grace Bumbry is my personal favorite, however. Her robust voice brings power to the low notes and she is never drowned out by the orchestra, something which I find can rarely be said of mezzos. She sounds truly anguished at her unrequited love and rounds out the cast with a performance second to none.
Given the choice, I'd still buy the recording for the star studded cast, but I hope that someday it can be "re"-digitally remastered.

The ONLY cause for pause that I had when first approaching this opera was Eric Leinsdorf. His reputation for reckless pacing preceded him and I had had CD experiences where my favourite artists (e.g., Anna Moffo) were "sold short" in Leinsdorf's rush. Well, this isn't the phenomenal von Karajan/Price bonding but such is the power of this shining cast that I remain awed. In fact, what I would not balk at in calling the 'Leinsdorf rush' is better described as an urgent and dramatic reading....not rushed.

So maybe you started out by hearing Leontyne Price arias. You may have been fortunate to hear the less proliferant but honeyed vocals of Grace Bumbry. Then behold: you find them paired together here. Who could resist? A reviewer of one of Bumbry's compilations remarked on the "sass" in her voice. Funny how before having read that review I'd always used exactly that word. Grace is the ULTIMATE Amneris. All the bewitching guile and beauty of a vocally jewelled python (listen to her entreating Domingo's stalwart and tortured Radames; or luring Aida to disclose her woes). But those langorous and fluid vocals come packed with a venom....how she suddenly rears like a coiled cobra, suddenly flaring her vocals before a cowering Aida. Listen to her railing at having lost everything in the final act, casting her damnation even upon the heads of the very High Priests to whom she sent Radames in condemnation.

Then there is Aida herself. That Leontyne gave such a performance DESPITE Leinsdorf shows why she holds the undiminished title to this role. The chilling pianissimi (e.g., in the love duets with Radames beside the Nile and in the final death chamber) will cloud your eyes. The sobs, sighs and smiles all shine through Ms. Price's voice with conviction and sincerity...bella voce verissima.

Domingo holds the achievement of being the first tenor to have made me enjoy the aria "Celeste Aida". I had heard many versions before but I never did like this aria until it came from him. Such dexterity in one man....I acclaim him the most accomplished tenor of the 20th century. His voice is clear, without sounding too 'heady' and without the thoracic heaviness Pavarotti sometimes displays. Again, the emotions ring true (e.g., his disbelief and dispair in discovering the plot between Amonasro and Aida is palpable). You can hear the relief and almost welcome resignation as he sings the final lines with Price in the death chamber.

Finally, I wish to highlight Sherril Milnes' warm, noble baritone as Amonasro. His Amonasro is capable of the sternness and severity driven by a desperate, ambitious and noble Ethiopian ruler...never the wild, barbaric notion of a bloody savage. When he declares himself as Aida's father ("sua padre") I visualise the painful frown that must have creased his brow. Even his denouncing of Aida as traitress is done with enough pathos and grief to make his reacceptance of her more convincing when she decides to comply with his plot. Such pain is reflected in his voice during this desperate act! And Price's response? Listen to "o patria, o patria, cuanto mi costi; o patria...cuanto mi costi!" Excuisite. Here, Leinsdorf is actually in a superlative class with the orchestral response.

The other roles are excellently sung, including Pharoah; the High Priest Ramfis and the High Priestess are worthy of special note, however. I have no problem with the recording quality. It is typical of the RCA series (La Forza; Rigoletto; Luisa Miller etc.) which is fine stereo. I have heard Leontyne's other recording and I have to say that Rita Gorr cannot hold a candle to the blinding flash of Grace Bumbry's potent Amneris. Nor has Vickers (who is quite good) outdone Domingo here. As for Milnes? Listen to this recording then think hard...what more could you ask for in Amonasro?

Do yourself justice. Unless you have particular fixations with other artists, THIS is Aida.

I think the other reviewers are too picky. The point is: Leontyne Price IS Aida. Period. No one ever sang this music better. Yes, if forced to choose, I would pick the earlier Solti set over this one -- her tone is simply ravishing -- but this is still a masterful account of the role. There's also excellent work here from Bumbry, Domingo and Milnes.

The sound in this particular re-issue of RCA's 1970 AIDA makes listening a frustrating experience. Don't let the lower price lure you. It's worth the extra money to hear clear high notes, orchestral climaxes, etc. If you're interested in the recorded performance itself, see my review of the older, full-price CD issue.

This is a powerful, dramatic Aida. Leontyne Price really shines in one of her signature roles. I like this set better than her earlier Aida ( now on Decca ). That set is also very good. This set benefits from the Amneris of Grace Bumbry and the no-nonsense conducting of Leinsdorf.

It is well known that Ms. Price is the eternal Aida, and this recording amply supports that view. Lock the doors, turn off the phone, and revel in the glory of her singing. This recording is truly without equal.

This is no casual Aida!
The cast is well balanced the orchestra is very fne. Maybe one would've liked a more sympathetic conductor, but Leinsdorf doesn't ruin it for you. Insead he has a lot of sensitive and inspired moments. On the other hand you have here some of the leading figures for each and every role. A lot is said about Leontyne Price and evetything is true. She must be the greatest Aida although the role has seen some other great incarnations. Domingo might not be my ideal Radames (Corelli is the Radames for me) but he is at least second best and I like him here more than in Muti's redintion. Then you a great high priest in the person of Raimondi. He is beautiful both as voice and interpretation. You wil love the Amonasro of Sherrill Milnes the Re of Sotin is among the best found outhere. As a whole a great cast that sings marvelously with great voices (all in great shapes) and character detail. With a little more attentive and insightfull conductor this Aida would've been unbeatable. But still is a great recording, deserving its palce among treasuries of recorded opera.

I own a good European LP pressing of this Aïda and loved the performance, but I always thought it sounded, err, unfocused. Now I've heard the digitized version, which I had high hopes for. It was a disappointment. In some ways the LP set sounds better.

I think the problem is uncorrectable, in that some mistakes were made in the original recording in how singers were placed vis-a-vis the orchestra and the mikes. Some scenes sound lively, with the singers miked closely enough to really hear them, while other scenes sound sort of unfocused. There's one place in act 3 where poor Leontyne sounds far, far away. As soon as Amonasro comes in, she sounds close. What's with that? My belief is that the production team had a concept of stage action and space they wanted to convey, but didn't pull it off.

It has a strong cast (all of them, not just Price), and Leinsdorf seems like he has a good grip on the score. I am not with some of the reviewers who carp about him. If only Giulini had done Aida with this cast and the engineers who did his Don Carlo--that would have been something! Come to think of it, listen to Giulini's Don Carlo and then this Aida and you'll see what I mean about the relative effectiveness of the sound picture.

I have been a huge Leontyne Price fan for lo these many years, and this is my third copy of this opera, progressing through lp, cassette and now, cd. My original impetus to possess this album many years ago was because of Price, but I discovered then and still acknowledge now that it is Grace Bumbry who steals the show. She is magnificent! Amneris is to me one of the best parts ever written for opera, and Bumbry is arrogant, jealous, lovelorn, and heartbroken in a memorable performance.