Customer Reviews

Verdi - Aida / Wanamaker, Price, Pavarotti, San Francisco Opera

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

 

 

I am sure that Margaret Price will be remembered primarily as a supreme performer of Lieder. However, to me, she was also wonderful in the few operatic roles she took on with this DVD of Aida being an excellent example of how good she was as an opera performer. (I place this recording right up there with my other favorite operatic recording that she did-Verdi's Masked Ball with Solti) Her Aida is great aurally and visually. She pours out great sound-exhibiting loads of power along with her known ravishing pianissimos. She fails to "nail" O Patria Mia; however, everything else is great especially her final duet with Pavarotti. I can remember friends of mine that were members, at the time of this performance, of the San Francisco Opera Chorus saying that Margaret Price was very unhappy during this "run" of Aida (she cancelled one performance with Leontyne Price (!!) substituting for her) This sadness comes across as vulnerability (very touching) in the performance. She indeed looks very sad during bows; anyway, she performs that dear ole girl Aida wonderfully. I can remember, at the time, Margaret was referred to as the "other" Price with Leontyne being, of course, first.; nevertheless, I do feel, in this performance of Aida, she "stands on her own" as an opera performer not being second to any one. The BIG star of these performances of Aida was, of course, Luciano Pavarotti (making his debut in the role of Radames).
Pavarotti, at this time, was in his vocal prime. Once past "Celeste Aida", he settles down and gives a great performance singing with power, beauty and tenderness. Never a great actor, he is very much involved and with the sound he is making one soon forgets that he wasn't a good actor-after all opera, to me, is foremost about voice At this time Luciano's voice was a spendid instrument indeed. His big scene with Stefania Toczyska as Amneris is great.
Stefania Toczyska as Amneris is splendid. She is at one moment ripping the Pyramids down with the power of her voice and artistry and at the next moment expressing Amneris' hurt and love of Radames with much tenderness. At the time of this performance she was a gorgeous woman making the role of Amneris very exciting both vocally and visually! Brava!
I am afraid that Simone Estes makes for an unrelentingly LOUD Amoroso exhibiting the kind of singing that kept him from becoming the supreme operatic bass that he should have become.

The production is wonderful with all of the scenery and costumes being extremely beautiful!

Garcia Navarro conducts the opera with passion and plenty of tenderness holding the vast resources together masterfully.

The sound and picture qualities on this DVD are superb. If you love Verdi's Aida do yourself a favor and buy this disc.

There's a little too much gold lame on display here for my taste, but for those who like their opera productions big and flashy, this "Aida" should thrill. Pavarotti, looking downright boyish at times, is in beautiful voice, as is Margaret Price, his leading lady. (On the other hand, her wild eyes and melodramatic gestures have to go.) Unfortunately, Simon Estes as Aida's father is from the louder is better school of opera singing, but, hey, he's not around too long. The real news for me is Stefania Toczyska, who's remarkable as Amneris. I thought the Met's Delora Zajick owned this part, but Toczyska gives her a run for her money. Superbly sung, dramatically valid, this is one of those performances that gets you hunting for more of her...only this seems to be it on DVD. Too bad, but grab it while you can. As for the production, when I stopped looking for taste and gave myself up to the tacky opulence, I found myself enjoying it a lot. Kinda like Zeffirelli's "Turandot," though on a smaller scale. And it's "Aida," after all, so, really, how can you go wrong?

This performance was telecast from San Francisco to Europe, and features a Pavarotti at the height of his powers. There is a lot of tight-angle camera work, which highlights the performers rather than the staging. The miking also is close -- and what a relief it is by comparison with the undermiking of singers that was common in those early days of televised opera. The 1997 Japanese laserdisc release of this performance received a magnificent audio and visual transfer. Therefore the forthcoming DVD has the potential for demonstration quality.

Reviewer: Gordon Sholes (Denver CO)

I have also the '91 Met Aida - Domingo, Millo, Zajick etc. The San Francisco version is one of the greatest. It's unusual to have such a good visual and audio restoration of an '81 performance. W e are fortunate to have one of Pavarotti and the other principles when they were in their prime. It's worth having for that reason alone. Each version has its own good scenes such as Zajick's strong performance as Amneris in act IV of the Met's version. Also in the San Francisco version, Simon Estes' strong performance as Amonasro in the duet Ciel, Mio padre! portrays a regal commander of the Egyptian army. This resulted in excellent casting.
Which version one likes best will depend on one's preference for singers. Very few will regret buying the San Francisco one. (there are always a few)

Don't get me wrong. This Aida is well worth viewing and having in your collection. Pavarotti is in top form although his Celeste Aida is a notch below the earlier La Scala recording. All through Pavarotti's singing is superb BUT the acting is another matter. I am told that because of his girth and bad knee his movements throughout seem stunted and hesitant.

Margaret Price is good but for some reason I cannot pinpoint what is missing. But something definitely is. I could do with less of her gesticulations but other than that I cannot really contribute to what is lacking.

Stefania Toczyska is just superb. Oh..I was thrilled by her performance and presence and acting. She just nailed it as Amneris.

What bothered me most was the triumphal march scene. A sadder example I cannot think of. Instead of depicting the grandeur pomp and circumstance (aka the Met version Levine/Domingo), we are treated to an engineered version of moving pillars and other assorted rubbish. This definitely took away from the entire performance.

All in all, this is a good Aida, a very good Ramases, an excellent Amneris, and definitely worth watching and probably having in your collection.

This is a noteworthy addition to any collector's library. The singing is exemplary and production eye-popping.

As far as Pavarotti's ignoring the indicated triple pianos at the end of "Celeste Aida," what tenor, inicluding Caruso, hasn't made this a "show piece" singing full volume? It's now expected, and audiences feel cheated. So it's become a moot point (a la Adrian Edward's Amazon.com editorial).

Margaret Price's is outstanding, while Simon Estes is powerful, singing pretty much at top volume throughout. The triumphal scene is spectacular, and tomb finale emotionally moving.

This is a hard piece to photograph, and the camera work does well enough. All in all, a fine collector's item.

The musical supremacy of this Aida is substantial. I'm a musician indifferent to the culture of opera, but never the music, which is what reigns here, and Verdi wins for that reason. Navarro conducts like a sphinx with preternatural instincts of ensemble, and of Verdi. Near perfection ensues. The reason for the season in my book is the singing of Margaret Price, pure and simple. She transforms Aida from the run of the mill we accomodate, and that by god-given Musical means, as opposed to extra-musical - the whole of the wonder right there! There's not a lost moment of singing in the entire performance. Incidentally, she similarly reveals Isolde in her recording with Kleiber. She looks uncomfortable in her costume, but the singing pours out, castigating as insignificant every extraneous imperfection. She's an impeccable singer; musician first, and instrument second. Re stage design, I get the argument about lavish, &I guess it applies here. What do people think an opera production of Aida should look like?? Dont answer that. Disappointment doesnt come with this Aida. Beautiful (as usual) film direction by Brian Large. Big recommendation for musical reasons.

In later years we hear the tenor Luciano Pavarotti lost his voice, could barely sing an entire opera and that it was past time to retire. But there were times when the great Italian tenor had its heyday. Had it stopped at the right time everyone would remember him as a great singer. Who had the good fortune to live this time and watched live can be considered fortunate. Who is young or has a chance to meet the great opera houses of the world chooses to video and cd. Pavarotti videotaped two versions of the opera Aida, one of the San Francisco Opera House in 1981 and another in the Scala of Milan in 1985, both available on DVD.

The opera in question requires a dramatic tenor, voice full-bodied, dark and bulky. We know that this is not a feature of Pavarotti. His voice is lyrical, light, clear. But we were disappointed with that, his sharp bright make us forget some requirements of the role and remind us of a time when the tenor sang divinely. His Celesta Aida is magnificent, the support of each note at the end of the aria is any theater burst into applause. His whole reputation is justified in these two videos, his voice has changed little in the time interval between them. While Pavarotti voice exudes shows the defects of all time. Bad actor, does not convey any emotion in his Radames, always static on stage and their size does not remember a warrior who wins the Ethiopians.

The version of Scala has the protagonist Maria Chiara in the role of the slave Aida. Voice appropriate to the character, dramatic soprano of the first magnitude, conveys the emotion and duplicity of the slave in love with Radames sees his people being slaughtered by it. His aria "Ritorna vincitor!" is vibrant, alive, and conflicted. Excellent vocal and theatrical performance to a role already performed by many divas of the twentieth century. Ghena Dimitrova is a mezzo soprano voice dark and powerful, ideal to represent Amneris. Makes a passionate woman, frustrated and vengeful for not having his unrequited love for Radames. His presentation in the fourth act shows all the vocal resources and a large scenic mezzo soprano may have. All internal conflicts are apparent in his performance, had the beloved's death and forgive him if he is faithful. The big problem with this version of Scala are the scenarios, loaded to the extreme, too much color, too heavy even for a passionate Egyptologist. The costumes follow the same pattern, all tacky, resemble a costume party where everyone wants to appear. The makeup is another case of excess bordering the ridiculous. All this culminates in the Triumphal March in the second scene of Act II where the excess dictates fashion.

The version of the San Francisco Opera House features Margaret Price as Aida. His first act is cold, without emotion. It seems that the singer's voice is not warmed up before going on stage or no weight to the role. Presents great difficulties in acute, it is clear that the effort is to sing. Scenic tries to be an actress, but slips in the interpretation unconvincing. His great moment is the third act aria "O Patria Mia," her voice "warmed" was convincingly demonstrated all the pain of losing their homeland. Stefania Toczyska Amneris is a cold, metallic voice serious and does not compromise the character, but does not impress. The high point of this version is the assembly, we have sets and costumes that give fluency to the plot. Scenarios are clean and light the prevalence, stone pillars contrasting with an adequate light and very well posted. Costumes simple and inspired, as could not be in ancient Egypt, are the central feature. Negative results for some clothes that seem to be extraterrestrials. But nothing approaching the excesses of the Scala. Final moving where the atmosphere of light and scenery combined with the imminent death of two characters.

The Scala orchestra with many years experience in opera does very well, conducted by Lorin Maazel is classical and refined by imposing the score all the romance Verde. Navarro leads the orchestra of San Francisco ran some risks in accelerating the pace, but trust me its musicians is a modern reading. The choirs of both theaters are satisfactory, with special appreciation for the Scala has its own style of singing Verdi. Despite being older vhs tape-recorded and incorporated into the DVD have sound and picture quality on both DVDs, nothing can compare to recent releases of operas recorded on digital technology.

Who wants a clean installation, with Pavarotti on a full vocal version opts for the San Francisco Opera House. Anyone opting for the assembly of the Scala scenarios will see great and loaded with costumes and exaggerated makeup. With the compensation from Pavarotti, Chiara and Dimitrova singing too. Who is addicted to opera as I buy both, and never merely as has versions of the Met, the San Carlo of Naples and the Arena di Verona. But that is subject to other carnivals.



Pavaroti-Duas Vezes Aida

Nos últimos anos de vida ouvimos que o tenor Luciano Pavarotti perdeu a voz, mal conseguia cantar uma ópera inteira e que já era passado o tempo de se aposentar. Mas houve tempos em que o grande tenor italiano teve seus dias áureos. Caso tivesse parado na hora certa todos se lembrariam dele como um grande cantor. Quem teve a sorte de viver essa época e assistiu ao vivo pode se considerar um felizardo. Quem é jovem ou não tem a chance de conhecer os grandes teatros líricos do mundo opta para o vídeo e o cd. Pavarotti gravou em vídeo duas versões da ópera Aída, uma delas no San Francisco Opera House em 1981 e outra na Scalla de Milão em 1985, ambas estão disponíveis em dvd.

A ópera em questão exige um tenor dramático , de voz encorpada, escura e volumosa. Sabemos que essa não é uma característica do Pavarotti. Sua voz é lírica, leve, clara. Mas não nos decepcionamos com isso, seus agudos brilhantes nos fazem esquecer algumas exigências do papel e nos lembram uma época em que o tenor cantava divinamente. Sua Celesta Aída é magnífica, a sustentação da nota si no final da ária faz qualquer teatro explodir em aplausos. Toda sua fama se justifica nesses dois vídeos, sua voz pouco mudou no intervalo de tempo entre ambos. Enquanto esbanja voz Pavarotti mostra os defeitos de sempre. Péssimo ator, não transmite emoção alguma em seu Radames, sempre estático no palco e seu tamanho em nada lembra um guerreiro que vence os etíopes.

A versão do Scalla tem como protagonista Maria Chiara no papel da escrava Aída. Voz adequada ao personagem, soprano dramático de primeira grandeza, transmite a emoção e a dubiedade da escrava que apaixonada por Radames vê seu povo ser massacrado por ele. Sua ária "Ritorna vincitor!" é vibrante, viva e conflituosa. Excelente atuação vocal e cênica para um papel já cantado por inúmeras divas do século XX. Ghena Dimitrova é um mezzo soprano de voz escura e potente, ideal para representar Amneris. Faz uma mulher apaixonada , frustrada e vingativa por não ter seu amor correspondido por Radames. Sua apresentação no quarto ato mostra todos os recursos vocais e cênicos que uma grande mezzo soprano pode ter. Todos os conflitos interiores transparecem em sua atuação, mandou o amado a morte e o perdoa caso ele lhe seja fiel. O grande problema dessa versão do Scalla são os cenários, carregados ao extremo, coloridos em excesso, pesados demais até para um egiptólogo apaixonado. Os figurinos seguem o mesmo padrão, todos cafonas, lembram uma festa a fantasia onde todos querem aparecer. A maquiagem é outro caso de excesso que beira ao ridículo. Tudo isso culmina na Marcha Triunfal na segunda cena do segundo ato onde o excesso dita a moda.

A versão do San Francisco Opera House apresenta Margaret Price como Aída. Seu primeiro ato é frio, sem emoção. Parece que a cantora não aqueceu a voz antes de entrar no palco ou não tem peso para o papel. Apresenta grandes dificuldades nos agudos, é nítido o esforço que faz para cantar . Cenicamente tenta ser uma atriz, mas resvala na interpretação pouco convincente. Seu grande momento é a ária do terceiro ato "O Pátria Mia", sua voz "esquentou" , foi convincente, demonstrou toda a dor de perder sua pátria. Stefania Toczyska faz uma Amneris fria , de voz grave e metálica não compromete o personagem, mas não empolga. O ponto alta dessa versão é a montagem, temos cenários e figurinos que dão fluência ao enredo. Cenários limpos e leves são a predominância,pilares de pedra contrastam com uma luz adequada e muito bem postada. Figurinos simples e inspirados, como não podia deixar de ser no antigo Egito, são a característica central. Destaques negativos para algumas roupas que parecem ser de extraterrestres. Mas nada que se aproxime aos exageros do Scalla. Final comovente onde a atmosfera de luz e cenários combina com a morte iminente dos dois personagens.

A orquestra do Scalla com muitos anos de experiência em ópera se sai muito bem, a regência de Lorin Maazel é refinada e clássica impondo a partitura todo o romantismo verdiano. Navarro conduz a orquestra de San Francisco correndo alguns riscos em acelerar o ritmo, mas confiante me seus músicos faz uma leitura moderna. Os coros de ambos os teatros estão satisfatórios, com especial apreço pelo do Scalla que tem estilo próprio de cantar Verdi. Apesar de serem versões antigas gravadas em fitas vhs e transpostas para o dvd temos som e imagem de boa qualidade em ambos os dvds, nada que se compare aos recentes lançamentos de óperas gravadas em tecnologia digital.

Quem deseja uma montagem limpa, com Pavarotti em plena forma vocal opta pela versão do San Francisco Opera House. Quem optar pela montagem do Scalla verá cenários grandiosos e carregados com figurinos e maquiagens exagerados. Com a compensação de ter Pavarotti, Chiara e Dimitrova cantando muito. Quem é viciado em ópera como eu compra as duas, e como nunca se contenta tem as versões do Met, do San Carlo de Napoli e da Arena di Verona. Mas isso é assunto para outros carnavais.

Ali Hassan Ayache

I regret not ordering the La Scala version, which I have seen, for I found both the picture and sound quality of this one so poor that I may never watch it all the way through. A professional review I read, alas, only after buying it said that the poor quality probably reflected the relatively early date on which it was recorded.