Customer Reviews

Verdi: Aida

5 star:		(13)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Aida is a difficult opera to cast well, and in these sad days when big operatic voices seem to be gone, it's even impossible to cast adequately. EMI was lucky 25 years ago to have Caballe, Domingo, Cossotto, Ghiaurov and Cappuccilli in pristine form. Caballe, a natural Trovatore Leonora, was not really born to sing Aida, but was caught in great form and sings a ravishing, passionate princess. Zinka Milanov and Leontyne Price are perhaps even more ideal, but Caballe is certainly their equal on records. Domingo's virile Radames is admirable, even if he sang even better for Abbado in his 1981 recording. Cossotto is a storm as Amneris, fiery, implacable, a force of nature! Ghiaurov in his prime had one of the greatest voices of the Century, he has to heard to be believed. Cappuccilli is at ease as Amonasro, but others, Warren and Gobbi especially, were even more dramatic in the crucial third act duet with Aida. The young Riccardo Muti conducts very well, even if he lacks Abbado's insights (though of course, Abbado lacks Muti's singers in his DG recording). All in all, this is one of the great Aidas on record. The Perlea recording is perhaps even better sung, with Milanov, Bjorling, Warren, Christoff and Barbieri, but it has mono sound and a second rate orchestra. The Solti recording will always be there because of Leontyne Price and Jon Vickers, but the Rome Opera Ochestra is not up there with the Philharmonia or the Vienna Philharmonic. Finally, the Levine recording on SONY with Aprile Millo, Dolora Zajick, Placido Domingo, and James Morris closes the era of great Verdi voices. Aprile Millo certainly has what it takes, so it is all the more tragic her career was so short. Domingo in his fourth Radames has lost a little power, but it remains a memorable portrayal. Zajick is very exciting and loud, but misses some of the class a Barbieri or a Cossotto brought to Amneris. James Morris is a formidable Amonasro.

This recording is, if not quite perfect, very very good, with a close to dream cast. Riccardo Muti conveys the drama of "Aida" electrically, but is not afraid to slow down and savor the big moments. I especially like how he brings out the timpani in the big, spectacular parts. This really adds to the majesty of these scenes. Ghiaurov, as Ramfis, is all you could ask for, with his dark, slightly husky, thunderous voice a perfect match for the High Priest's rather chillingly powerful authority. Cappuccilli is excellent as Amonasro, particularly dramatic in the Nile Scene; Cossotto has a splendidly regal voice which is perfect for Amneris, but she is definitely at her happiest singing loudly, and doesn't really color the character very well - but her voice makes up for it. Plácido Domingo IS Radamès: heroic, tender, agitated and despairing - wonderful. Montserrat Caballé has a gorgeous voice, and, contrary to my expectations (admit it - she is known almost completely for her voice), offers an exceptional portrayal of the Ethiopian princess - however, she gets a bit gulpy and throaty at some points, which is not pleasant. But her high pianissimos are magical, especially in the Nile and Tomb scenes. I have heard other recordings that might have slightly better casts (Leinsdorf's RCA recording with Price, Domingo, Bumbry, Milnes and Raimondi) or more majestic, leisurely conducting (Karajan), but the different parts of this recording add up completely satisfyingly and the result is the best version of "Aida" I've heard yet.

Muti's 1974 AIDA is a marvel! The singing, the playing, the sound, all add up to one overwhelmingly satisfying, viscerally thrilling performance, a performance to rival Karajan's 1959 recording of the same opera. I'm not a big fan of Caballe, but as heard here, she's powerful, insightful, tender, and the velvet of her pianissimos is something to wonder at. She may lack the consummately beautiful instrument of Leontyne Price, but she's got everything else. Domingo, in his second recorded performance of Rhadames, is the ideal tenor for this role. His voice rings out with power and emotion, at times caressing or electrifying the listener's ears. Only in his 1981 outing with Abbado does he better fulfill Verdi's music. As the third wheel in the romance, Cossotto sings richly and securely, hitting the role of Amneris head-on vocally, but missing the contrasts that would have made her character really live in the listener's mind. The rest of the cast is exemplary, Ghiaurov making a formidable Ramfis, Cappuccilli a fiery Amonasro, Luigi Roni a strong but appropriately aging King of Egypt, and the young Nicola Martinucci a compelling Messenger. Aside from the singing, between Muti's conducting, the New Philharmonia's exacting, exciting playing, John Mordler's expert production, and Stuart Eltham's marvelous supervision of the sound, this AIDA ranks as one of the greatest recorded interpretations of the work ever made.

EMI is one of the very few labels that released two great Aidas, one after another, this one being the first and Karajan's set with Mirella Freni in title role - the second, this one dazzling and energetic, the other one grand and emotional. I could not make a pick, so I own both and thus get a benefit of hearing the music of my favorite composer approached in two completely different but similarly irresistible ways. Riccardo Muti became known for his faithfulness to the score, most understand this as just his refusal to allow the optional high notes. I think it's more than that, here he demonstrates complete understanding of Verdi's intentions. Even though the action is brisk, the tempi are even and the march sounds fresh with its ringing brass. Aida was the composer's most beloved heroine, her music is very tender and ethereal, Muti makes sure that the strings are literally "breathing", the legato line is impeccable and Montserrat Caballé's gorgeous voice is ideally suited for this demanding role. Since hers is not a spinto voice, it's fascinating to observe that it has that much power, yet free from any painful strains. Good conductors realized that it gains a great deal when presented opposite darker tenor voices. She partnered with Placido Domingo on this set, Manon Lescaut and La Boheme, and with José Carreras on Un Ballo, Tosca and Cavalleria Rusticana among many others. Here Domingo treats the listener with yet another commanding heroic rendition of Radames (he recorded the role at least four times). This is a very heavy role where the tenor many times needs to sing over very loud orchestra and he does a splendid job of that. But both principals are also quite capable to project beautiful tender passages, listen to "O terra addio." The supporting cast is possibly the best on record. Amonastro is sung by Piero Cappuccilli. This is one of his favorite roles (he repeated it for Karajan) and his captured king is imposing and even dangerous. Fiorenza Cossotto is a compelling Amneris. Although she does not evoke as much sympathy for her unanswered love as Agnes Baltsa on Karajan's set, she is truly regal and her fury is easy to understand. Nicolai Ghiaurov is a magnificent Ramfis, during the trial scene his voice really seems like the voice of mighty Ftha, menacing and larger-than-life. He really IS the driving force behind the tragedy.

EMI's remastered edition includes a plastic case only (no sleeve) and thus the libretto booklet is smaller and harder to read, the sound, however, is quite good, although not digital. This is one of the very best recordings of Verdi's masterpiece, one cannot go wrong with it. It also provides a good standard for the new Aidas whose absence during the last 10 years is puzzling to say the least.

Despite some great recent recordings this one is a performance that one will always return to. The cast is unmatched and their voices were recorded at their prime. This is the first of three recordings which Domingo amde of Radames. His youthfulness is much more apparent in this recording than in his later ones. Caballe has the perfect voice for Aida. It is strong voice capably withstanding all the demands this role puts to any soprano. Fiorenza Cossotto is ons of the greatest Verdi mezzo soprano's of all time and her Amneris is brilliant. She displays Amneris's torn emotions brilliantly. In the end, however, the most credit has to go Riccardo Muti's inspired leading of the New Philharmonic Orchestra. His conducting is energetic, yet musical, dynamic yet sensitive. Listen especially to the trumpet solo in the duet between Aida and Radames in Act Three. It is unparallelled even by his great compatriot Claudio Abbado. This is definitely THE recording of Aida to buy of you are a first time buyer.

"Aida" has been recorded very frequently over a period of seventy years. Karajan's two recordings, Abbado's, Toscanini's, Solti's, Perlea's, Serafin's two ... some aspects of these may be more striking than their correspondents on this 1974 EMI recording, but if you are looking for the best all-around "Aida", this is the choice to make. Riccardo Muti does not fall into the trap of taking sluggish, Karajan-like tempi to make the work sound "grander"; he keeps things moving at the proper pace, with fire, passion and majesty in his direction. He gets superb playing from the New Philharmonia Orchestra: sumptuous strings, sonorous brass and rattling timpani in the big scenes. The sense of overall structure is not quite as finely developed as it is in some of the other recordings, but this is still a view of "Aida" to hold with the very best. Muti is fortunate to have the best all-around cast on disc. The Spanish soprano Montserrat Caballé is in her prime here, with her large, clear, beautiful voice firmly focused and with her famous high pianissimi thrillingly floated. She is more involved than she often was, and so she must be regarded as one of the finest Aidas on disc, on a par with Tebaldi for Karajan and Milanov for Perlea. Plácido Domingo, in the second of his four recordings of Radamès, sings firmly and securely with warm, golden tone. He has a gorgeous legato line and his interpretation is well realized, even if he, like everyone else, takes the end of "Celeste Aida" fortissimo instead of pianissimo. This is one of the best warrior-heroes on disc, though his third for Abbado is even finer. Fiorenza Cossotto makes a riveting Amneris, full of Italian fire and singing gloriously and powerfully. Her voice has gotten a bit gravelly down at the lower end, but she sings as well as anyone else, with Barbieri and Simionato the best Amneris ever. The magnificent Bulgarian bass Nicolai Ghiaurov sings a truly glorious Ramfis, with a huge, menacing vocal presence and an individual, sumptuous instrument. His singing in the temple scene contains some of the most gorgeous phrasing I have ever heard. He is far and away the best Ramfis on disc, and that includes Boris Christoff and Ruggero Raimondi. The Italian baritone Piero Cappuccilli sings with golden tone as Amonasro, and his phrasing and legato line are supreme, as well. Powerful, sumptuous choral work and an excellent orchestra in the New Philharmonia round out this recording. The sound is quite excellent, but the recording is at full price on three discs, when it could easily have been fitted onto two (witness the Legends reissue of Karajan's first recording). Otherwise, though, this is a supreme performance and one that is essential for every lover of opera.

This 1974 Aida, one of several in EMI's large catalogue, is in many ways the best Aida available. The cast alone should be enough to take another look at this recording. Muti was quite young at the time of the recording, but forces gorges sound out of the New Philharmonic Orchestra. His tempi seem sometime a little fast but never hasten. However Muti does not make a meal out of every bar in the partitur, as one find in Karajan's late 1979 version (Also EMI). The principals Montserrat Caballé and Placido Domingo are at their absolute prime. Domingo has recorded the part of Radames 4 times, first time in 1970 (Leinsdorf/RCA) then again in 1981 (Abbado/DG) and last in 1990 (Levine/Sony). This recording as mentioned from 1974 is Domingo's best account. His silverglansed voice fits the role perfect. Caballé gives us an Aida with great security, and she shows her ability to use her voice as an instrument. Few sopranos, if any, have the ability to let the high pianissimo-notes flow the way she does it. Aida's great aria in the beginning of the third act is an example. Piero Cappucilli sings the part of Aida's father Amonasro. A typical Italian barytonvoice, with an incredible voice capacity, and uses it powerful. He also sang the part of Amonasro in Karajan's version in 1979. There are only small, if any differences in his account of the part. Cossotto is one of the few truly great mezzo-sopranos and she does not disappoint as Amneris. Along with Agnes Baltsa (Karajan '79) and Dolora Zajick (Levine '90) she is the only one who seems to get the part of the tormented Amneris. The great bass Nicolai Ghiaurov sing the small part of the High priest Ramphis. He sings with great conviction and leaves anyone else behind in the part. He is truly a great singer, and never falls in the category of boring, even if he has sung the part several times. He also sings Ramphis in Abbado's flawed Aida. Summing this up, there is no part you can claim being bad or poorly casted. But the magic of Beecham's La Boheme or Solti's "Ring" simply lacks. You can't your finger down and say 'here is something missing'. Everything is as good as any other recording or actually best most times, but when the magic misses, it just doesn't come out of your speaker and into your living room. That is the main reason that I only give this recording 4 stars. When this is said, it is still the best recording of Verdi masterpiece.

There are so many good recordings of "Aida" available and I own - and play - eight of them, but I keep coming back to this one as my favourite. This might partly be for purely personal reasons: it was one of the first sets I bought when as a nineteen year old I was just discovering opera and I still recall the sense of transported wonder I first experienced listening to that magical, moonlit Nile music; then just after that I was able to hear most of the artists on this recording live at Covent Garden and that cemented my preference for this version. Even though Caballe did not much look the part of a lissom Ethiopian princess, her voice did all the work as she spun those delicate pianissimi to every corner of the auditorium. And those almost unearthly high notes, sung "con un fil di voce" are still the chief glory of this set, despite all its other merits. Domingo is here more animated and richer voiced than in almost any other of his recordings and the supporting cast is very fine, even if Cappuccilli, for all his long-breathed eloquence, cannot match Gobbi for nuance. Cappuccilli could at times be a lazy singer who simply went through the motions, but Muti's taut, detailed direction clearly inspired him here. Cossotto produces precisely the kind of searing tour de force I recall so vividly from the live performance; she is anguished and terrifying in her rage and grief. Ghiaurov is sonorous, grave and implacable as the High Priest; Roni sturdy and regal as the King.

It is true that Caballe is not really entirely vocally suited to the eponymous leading role - it is a little big for her and she is occasionally clearly stretched at the grandest moments - but her artistry and commitment are such that she makes you believe she is right for it. The orchestra play with both power and delicacy for Muti who skilfully balances the intimate sections of the score against the massive exaltation of the crowd scenes. I like other sets very much, too, such as Price's later one with Leinsdorf and the earlier Tebaldi (see my review), but this is the best in a crowded field - and it's in superior sound, too.

This recording is simply perfect. Muti feels Verdi so much. In great mainly in the liric moments. Domingo has the best possible voice and Caballè's voice i really divine. Good the other singers. This recording cannot be missed by an opera lover.

I bought this recording on LPs way back in the 1970s, when I really couldn't afford it. It was completely thrilling then, and it continues to thrill me on CD today. I also carry it around on my Ipod.

I can't really see Caballe playing Aida in the opera house, but her voice is spot-on perfect. Her ability to spin a pianissimo high note was just stunning. The young Domingo was the Radames of his time. I always loved Cossotto; her powerful voice just gives me chills. Cappuccilli's baritone is very well-mannered. I wish the high notes were a little less "covered," but that's just a quibble. The conducting and orchestra are just terrific. The recording is of the highest pre-digital quality.