Customer Reviews

Verdi - Aida / L. Price · Vickers · Merrill · Gorr · Opera di Roma · Solti

5 star:		(21)
4 star:		(3)
3 star:		(4)
2 star:		(1)
1 star:		(1)

 

 

The same exact recording, remastered, and on 2-CDs instead of 3 is available as a UK import for half the price of this set, which sounds lousy. Look for the import!!

This is my personal favorite stereo recording of "Aida". True, Solti may conduct "Aida" as though it were Wagner's "Tannhauser" (the brass and percussion are incredibly prominent on this recordin), but this approach has rewards and pays dividends that one would not encounter in a more traditional reading of the score. This recording enshrines the first recorded Aida of Leontyne Price, and that alone is reason enough to own this wonderful recording. Price, like Zinka Milanov immediately before her, had the perfect voice for this role. At the time of this recording, the voice was long, silken, and had that smokey sound that later gave way to the hoarse quality that became evident on her more recent recordings (such as her second recorded Aida ten years after this one). Dramatically, Price delivers a deeply felt and compelling performance. Her Aida genuinely convinces one of her plight. The more I listen to Rita Gorr on this recording, the more convinced I become that she may well have had the greatest mezzo soprano voice of the post World War period. Her Amneris, to my ear, is the absolute best of the bunch (no faint praise, since that bunch would include Simionato, Barbieri, Bumbry, and Cossotto---- all great mezzos who excelled as Amneris). She has all of the qualities: venom, anger, and finally, anguish and heartbreak, and her voice is so large and massive that she easily soars over Solti's very strong orchestra. Jon Vickers is not a typical Rhadames. The voice is large and very dramatic in a Teutonic sort of way, but he knows how to scale his sound down when he needs to, and his Nile Duet with Price is beautifully done. Robert Merrill does a solid job as Amonasro, meeting Price on her own ground in the pivotal father-daughter duet. The bottom line: a stunning job by all the principals, under a conductor who dares to be different.

This is a great performance of "Aida", easily surpassing both von Karajan versions, as well as most others. Plainly, one could make a case for this "Aida" as being the greatest version yet recorded. Georg Solti creates an "Aida" that rises to Wagnerian proportions --- brass and percussion have never sounded so immediate and sonically compelling as they do here. Of course, one would encounter little of this in a more traditional reading, but the the rewards are many. Leontyne Price is heard here in her first recorded assumption of the role of Aida, and she is just about as perfect as one will ever hear. The voice was at its zenith, and the characterization never more convincing. I prefer her work here to that on the much later RCA version conducted by Leinsdorf. But great as Price is, this is no one woman show. Jon Vickers was a great artist, and if his Rhademes rings with a mixture of Wagner's Tannhauser and Tristan, the results are thrilling -------- this Rhademes was no wimp! The Amneris of Rita Gorr might just be the greatest of them all (all due respect to Simionato, Barbieri, Cossotto, Bumbry, etc.) ---- her huge bronzed mezzo was held by many to have been the greatest of the post-war period ---- and her work here goes a long way towards justifying that opinion. In the more intimate moments, her voice has a silken quality ---- but when she explodes in Act IV, the voice takes on a godzilla-like power and fury. Her performance alone makes this recording worth owning. Robert Merrill had come a long way as an artist by the time he came to record the role of Amonasro, Aida's father. Dramatically correct, and vocally outstanding, Merrill aptly demonstrates why he was the Met's reigning baritone in the 1960's. Choral work is exemplary, and the stereo sonics are spectacular. I can view this recording as "the" recording of "Aida". However, I still wouldn't let go of Milanov and Bjoerling on the mono RCA version. Nor would I give up Caballe and Domingo on EMI.Only one recording of "Aida"? Too difficult to choose. All three of these "Aida" recordings are outstanding.

This Aida, long since a near classic and always among the top five or six of the recommended recordings, does have it's pros and cons. True, Solti does push hard at times, but his pacing of the score is generally well paced and lyrical. Perhaps most of the blame for many instances of brashness comes from the RCA recording team, since the sharp "bright" sound is similar to many of the RCA recordings made fom the 40's on. Also, this recording was transferred in the early digital days when many of the record companies rushed to put out as many of their albums on CD at the expense of sound quality.

The Price/Vickers/Gorr triangle is one of the strongest on record. True, Price doesn't delve as much dramatically into the character as she could have, but her strengths have always been purely vocal. Vickers, prone to croon at times, and also somewhat staid as in other of his earlier recordings, redeems himself mightily with his manly portrayal of Radames. His Act 3 duet with Price is, in my opinion, nearly matchless. And one can hardly beat the big-voiced Gorr as the love-torn Amneris, although some sublety would be welcome. Merrill possesed on of the richest and beefiest baritone voices at the time, and characterization wasn't his forte. He's tremendous here, albeit with some hamminess. All in all though, in spite of it's shortcomings, this is one Aida that proves itself....it hasn't been out of the catalogue for nearly 40 years!

This is simply the greatest recording of "Aida" you will ever hear. Callas is more characterful but squally, Tebaldi is more Italianate but things get unpredictable at the top of her voice. Price has that glorious shimmering top (weird that a reviewer wrote that she has little pianissimi - Price's piano notes are famous), the strength, as well as the tenderness. Some criticize her strength but we forget that Aida IS a princess. Equally FANTASTIC is Jon Vickers who gives an un-Intalianate but highly individual and unforgettablly heroic reading. I have to conclude by adding that I'm shocked that DonAndrea's racist review has not been removed. It's no surprise that the hick comes from No'th Carolina.

There's no question George Solti is a fabulous conductor of Wagner and Strauss, he imbues those composer's music with the emotional frenzy required. What is questionable is Solti's ability to conduct a score that requires more restraint, like Aida. The pace of the music is fine, but the Orchestra is simply far FAR too loud in too many places. The Act One trio for Amneris, Ramses and Aida and the Nile Duet between Aida and Amonsaro are two prime examples. During those scenes in particular Solti drowns out his singer's who are competing with the orchestra rather than working with it. This is particularly unfortunate because this is a very good cast. Tucker isnt the most dramatically interesting Ramses, but he sings passionately enough. Gorr is a threatening imposing Amneris, though less convicing in her tenderer moments, luckily such moments are few. It is Leontyne Price who makes this disc the great recording that it is. This was her first AIDA recording and her voice was at it's most fresh. In her mid range she produces wave after wave of gorgeous tone and moves into her top voice with consumate ease, register breaks not to be found. Her rendition of O Patria Mia is the best you will hear on record, bar none. Her italian diction isnt the clearest but with a voice like that who really cares.

Leontyne Price was BORN to sing this role. Her Aida is powerful, moving, and magic. Her voice is rich and beautiful, and she truly ACTS the character through the music. Vickers and Gorr are excellent. Solti has been criticised for conducting "Wagner's Aida", but this is the one Verdi opera that calls for a monumental presentation, and Solti is right on target with this performance. Bravo, Solti. BRAVA, PRICE!

I first heard this recording of "Aida" in the 60s and am convinced today as I was years ago that it is one of the best recordings of the Verdi-masterpiece. Amazon. com has provided its customers an opportunity to sample the various recordings of this and countless other masterpieces. It has done so because, in my opinion, it realizes that the assessment of musical performances is often very subjective; it depends largely on the listeners' taste and exposure to music. I personally don't think that the Customer Review section should be used as a chat board for customers to grind repeatedly their personal axes. There are devotees of Tebaldi, Callas, Price, Caballe, Sutherland, etc., whose views are heavily influenced by their devotion to their favorite singer. I encourage all of you who are interested in purchasing a performance of "Aida" to take advantage of the amazon.com offer and listen to the selections of all of the performances. Having done that, you should purchase the one which pleases you. Price, Tebaldi, Callas, Milanov -- all have singular talents and something to "say" as "Aida." I am reminded, however, that after Price's performance of "Aida" in La Scala, one critic remarked that "Our great Verdi would have found her ideal." Enjoy your excursions!

It's been said so many times before, but Solti's 'Aida', to me, is the reference mark for all other performances. I've yet to hear one that competes with it. Some say that Solti's heavy-handed 'Wagnerian' approach isn't what Verdi had in mind, but I feel it's the reason this recording has survived the test of time. It is 'Grand' opera in all aspects. Price/Vickers/Gorr, with Solti conducting. How can it get any better? Maybe a better 'Aida' will be recorded one day, but that day is not yet.

This is a great recording, especially for Price's performance. A dramatic, sensuous Aida, her 'smoky' voice ideally suited to the role (e.g, O patria mia in Act III). Vickers is a strong, virile, Radames, the fine vocal actor that he is; and Merrill (Amonraso) and Tozzi (Ramfis) are in superb voice, playing their parts with complete conviction. Gorr sings a passionate, heart-felt, Amneris (e.g., L'aboritta rivale in Act IV). The only reservation is Solti's 'steamroller' conducting. A little more attention to detail, and mood, would have made this a legendary Aida on discs.

I recommend the cheaper, 2-for-1 Decca CD, roughly half of the cost of this recording. A synopsis of the action is included, with the appropriate cues numbered, but no full libretto.