Verdi: Aida / Caballé, Domingo, Muti

Riccardo Muti (Artist), Montserrat Caballé (Artist), Plácido Domingo (Artist)

Product Details

• Audio CD (September 23, 1997)
• SPARS Code: ADD
• Number of Discs: 3
• Label: Angel Records
• ASIN: B000002RXJ
• In-Print Editions: Audio CD
• Average Customer Review: 4.9 out of 5 stars See all reviews (14 customer reviews)
• Amazon.com Sales Rank: #220,812 in Music (See Bestsellers in Music)

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  Music > Opera & Vocal > Divas > Caballe, Montserrat

Editorial Reviews

Amazon.com essential recording
Behind the pyramids and the elephants, the long lines of prisoners of war and of slaves carrying booty, the choral shouts of "Glory to Egypt," and the splendid brass sounding the Triumphal March, Aida is the story of a love triangle: Aida, an Ethiopian princess who has become a slave in Egypt; Amneris, an Egyptian princess; and Radamès, the Egyptian general they both love (Aida secretly). There are ironies and conflicts: How can she love a man who is the enemy of her country but who says he has fought and conquered for the sake of her love? It is suitable only for the biggest opera houses and therefore demands voices capable of great power as well as emotional expressiveness. Montserrat Caballé, Placido Domingo and Fiorenza Cossotto provide such voices, and Ricardo Muti conducts with a sense of both drama and dynastic glory. --Joe McLellan

Customer Reviews

Most Helpful Customer Reviews

18 of 19 people found the following review helpful:

5.0 out of 5 stars EMI got it right in 1974, January 25, 2001

By	carmen juarez (D.F.) - See all my reviews

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.

8 of 8 people found the following review helpful:

5.0 out of 5 stars The best "Aida" I've ever heard, March 26, 2000

By A Customer

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 Radamčs: 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.

11 of 12 people found the following review helpful:

5.0 out of 5 stars An AIDA Not to Be Missed!, July 23, 2000

By	William T. Clegg (Pocatello, Idaho United States) - See all my reviews (REAL NAME)

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.