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Verdi - Aida / Maazel, Chiara, Pavarotti, La Scala [VHS]
 
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Verdi - Aida / Maazel, Chiara, Pavarotti, La Scala [VHS]

Paata Burchuladze , Ghena Dimitrova , Derek Bailey  |  NR |  VHS Tape
3.2 out of 5 stars  See all reviews (24 customer reviews)


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Product Details

  • Actors: Paata Burchuladze, Ghena Dimitrova, Luciano Pavarotti, Maria Chiara, Nicolai Ghiaurov
  • Directors: Derek Bailey
  • Writers: Antonio Ghislanzoni, August Mariette Bey, Camille du Locle
  • Producers: Robin Scott
  • Format: Classical, Color, Original recording reissued, NTSC
  • Subtitles: English
  • Rated: NR (Not Rated)
  • Number of tapes: 1
  • Studio: Kultur Video
  • VHS Release Date: April 29, 1997
  • Run Time: 160 minutes
  • Average Customer Review: 3.2 out of 5 stars  See all reviews (24 customer reviews)
  • ASIN: 6304469519
  • Amazon Best Sellers Rank: #351,933 in Movies & TV (See Top 100 in Movies & TV)

Editorial Reviews

Amazon.com essential video

La Scala went all out for its 1986 production of this grandest of grand operas, with a strong cast and, most important for a video recording, a larger-than-life staging. The Triumph Scene in Act II is by no means Aida's only attraction, but it is the part that makes the strongest and most lasting impression and it is the visual and musical climax of this production. Stage director Luca Ronconi brings on a procession to dwarf all processions: looted treasures, heroic statuary, miserable captives struggling under the lash of whip-bearing slave drivers. On par with these visuals is Lorin Maazel's first-class performance of the popular Grand March with the outstanding La Scala chorus and orchestra. In Act III, the contrasting tranquility of the Nile Scene also gets a visual treatment to match the music's qualities.

When it is not an epic spectacle, Aida is a tragic story of love, jealousy, and horrible revenge. The shifting focus between vast spectacle and intimate moments--sometimes awkward in a live performance onstage--presents special opportunities and challenges for a video recording. In this Aida, the camera work shows an acute awareness of those opportunities and challenges.

The soloists have a variety of strengths that outweigh a few small weaknesses. Luciano Pavarotti sings one of his signature roles in superb voice, but his weight problems are visually evident and detract from his impact as the dashing hero Radames. Maria Chiara has moments of vocal imperfection but gives a dramatically compelling performance. Ghena Dimitrova sings powerfully and the supporting cast is excellent throughout. --Joe McLellan


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Customer Reviews

24 Reviews
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Average Customer Review
3.2 out of 5 stars (24 customer reviews)
 
 
 
 
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Most Helpful Customer Reviews

27 of 27 people found the following review helpful:
4.0 out of 5 stars Great Singing, Poor Dancing, but Nevertheless a Good Buy, February 27, 2000
By A Customer
While I immensely enjoyed this performance it gets only 4 stars from me because of poor ballet. Aida earned the appellation as the grandest of all grand operas from a synthesis of Verdi's brilliant music and arias, sumptuous sets, ornate costumes, and some elaborate and cherished ballet. All of the ingredients are present excepts the last in this La Scala production.

The Nubian Slaves Dance in Act II Scene I was the lamest I've ever seen. A group of kids were given the choreographic directions to run onto the set, meander in random directions, and then scurry off like roaches running under a refrigerator when the kitchen lights are switched on. Perhaps they were distracted by the gratuitous nudity contained in this scene.

The Grand March wasn't particularly grand nor much of a march. Mostly it consisted of shuffling impressive scenery in the background and raising obelisks which seemed more likely to induce motion sickness than awe. The ballet that occurred in this scene resembled pigeons waiting in a public square for bread crumbs. In most of the performances of Aida that I've seen Radames makes his entry in Act II on a chariot being drawn by real horses but Luciano Pavarotti was toted on by people power. And, of course, some legendary productions featured elephants and giraffes. Even though the livestock and dancers had the day off I would still highly recommend this DVD to anyone.

First, the principles were magnificent. The promo states that the Milan audience gave Pavarotti a 2 minute ovation after "Celeste Aida". He certainly deserved it with a masterful performance that you would expect from the biggest name in opera. He alone is worth the purchase. Maria Chiara gave a solid performance as Aida but the performer that had me jumping out of my Lazy Boy and wildly applauding the TV set was Ghena Dimitrova as Amneris. She stole the whole show in the Judgment scene.

Second, you can't beat this price. The DVD costs less than all but the bargain basement CDs. You get both audio and video on one disk. With CDs you've got at least 2 and as many as 4 disks to feed into the machine.

In summary, all of the principles gave superb performances with masterful singing and acting and first rate orchestral accompaniment under the direction of Lorin Mazel. But if you want to see the Grand March and the dance sequences as they should be delivered get the Met production with Levine and Domingo: That's Grand Opera. If only it were available on DVD.

I wish there were more operas on DVD. But there is such a heavy investment in Laser Disks that we'll have to wait. When I saw my first opera on DVD I gave up on hub caps.

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26 of 26 people found the following review helpful:
5.0 out of 5 stars An Aida to treasure., June 28, 2002
By 
Plaza Marcelino (Caracas Venezuela) - See all my reviews
(REAL NAME)   
A cast like this is practically impossible to find or replicate today. Pavarotti and Dimitrova were in their prime (the latter would "progress" to the Aida rôle shrotly afterwards) and Maria Chiara, in spite of a tentative start, amply shows that she still was in very fine form, her portrayal soon growing into a warmth and securenes seldom seen. The Ronconi production was spectacular and shed some of the traditions that tended to be the norm (like dancing, remember the ballets were asked for by Verdi to accomodate Parisian tastes when the original production moved from Cairo to Europe) and thence you will encounter the ballet music firstly to accomodate pranks by kids who brusquely interrupt the languor and peacefulness of Amneris's bath, and later to accompany some heavy labouring by slaves in the triumphal scene. Mazzel's conducting is precise and to the point, the La Scala orchestra irreproachable as is also the very idiomatic chorus. And what's more, to have Ghiaurov, Buchuladze and Pons to support Pavarotti, Chiara and Dimitrova as Amonasro, the Paraoh and Ramfis was a splendid luxury only a theatre like La Scala could attract. The opera was recorded live some 15 years ago and, along with the Met's rival version with Millo and Domingo on a DG dvd, belong in any collection. You can't go wrong with either, although I'd slightly prefer this La Scala production, in spite of the lack of ballet criticised by some colleague reviewers. And don't mind the (for me unobtrusive) nudity that accompanies the Amneris' bath scene: after all, it's only natural that people undress to bathe!
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38 of 43 people found the following review helpful:
2.0 out of 5 stars GOOD PERFORMANCES, BUT POOR PRODUCTION, June 17, 1999
By A Customer
This review is from: Verdi - Aida / Maazel, Chiara, Pavarotti, La Scala [VHS] (VHS Tape)
This video brings some very good voices. Pavarotti is not exactly the best Radames ever, but his performance is no less than good. The problem is the production itself. The scenery has no charm, the triumphal march is NO triumpahl march, and the ballet scenes are just dreadful. All production is very amateur and it is amazing that such an important theater like the La Scalla was not able to bring us anything better than this. I do NOT recommend it to anyone, even if you are a great Aida fan.
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