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Aida

4.4 out of 5 stars 25 customer reviews

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Audio CD, June 20, 2000
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$16.40 & FREE Shipping on orders over $49. Details Only 2 left in stock (more on the way). Ships from and sold by Amazon.com. Gift-wrap available.
  • Sample this album Artist (Sample)
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3:21
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2
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1:40
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16:08
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6:50
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6:33
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4:01
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7
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5:53
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8
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21:17
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8:09
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Disc 2
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5:18
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Product Details

  • Audio CD (June 20, 2000)
  • Parental Advisory ed. edition
  • Number of Discs: 2
  • Label: Opera D'Oro
  • ASIN: B00004TCGP
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (25 customer reviews)
  • Amazon Best Sellers Rank: #389,085 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

By A Customer on June 14, 2000
Format: Audio CD
This spectacular performance of "Aida", a live performance from Mexico City on July 3, 195l, has been in circulation on pirate discs (and even earlier on LP) for years, but it has never sounded as clean and clear as it does on this new Opera D'Oro release. The sound has been cleaned up to a point where it sounds almost as good as a studio monophonic recording dubbed in the early 1950's. This performance has gained legendary status because it is the only performance of "Aida" where the Triumphal Scene in act III is brought to a circus-like conclusion by Maria Callas' interpolation of a top E flat. The note itself is a stunner, and the fact that she sustains the note for a good length of time (in those days Callas had top E flats to burn!) shows what great vocal health she was enjoying at the time. Of course, Callas was at the beginning of her vocal prime here and she certainly sounds it. Her voice is much larger and darker than it was to be when she undertook the studio recording of "Aida" for EMI four years later. Her musical phrasing is exemplary, and she creates a truly tragic heroine, if not a particularly vulnerable one. Still, this is an outstanding example of Callas' early work during those still talked-about seasons in Mexico City. Her colleagues in this performance are certainly in her league. The veteran Mexican mezzo soprano Oralia Dominguez, shamefully under utilized in the recording studio, is a passionate and highly emotional Amneris. The Aida/Amneris interview scene here is like a confrontation between the Maine and the Merrimac, with both Callas and Dominguez at full throttle. Dominguez' best work is, not unexpectedly, in the last act, where she ignites all sorts of explosions.Read more ›
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Format: Audio CD
How lucky the Mexican opera-going public was in 1951! This Aida is an excitingly sung, well-conducted performance that stands well next to any produced in a recording studio. In fact, when compared to the Aida recorded in 1952 by London/Decca with Tebaldi and delMonaco, the sound on this reocrding, taken from a radio broadcast, is actually better in some respects. Take the triumphal scene in Act 2, for example. On London/Decca, the orchestra and singers sound like they're in a small box, the brass sounds tinny and completely drowns out the strings. That's not the case with this Aida. Although the sound isn't as full as a stereo recording, it has more bloom and space around it, the brass and stings are in their proper balance, and it coveys the sense of being in a large hall, not a padded room. The one real blemish on this version is the synthesized overture. Apparently the producers of this issuing decided to augment what was actually recorded. It would have been better for them to have left it alone.
Regarding the singers themselves, they come close to comprising a dream cast. Callas is a fiery, tormented Aida, her singing is beautifully secure, and contrary to the opinions of some critics, her 'O patria mia' is well sung, complete with a ringing high C. Oralia Dominguez was making her debut as Amneris with this performance and it's a wonder that she didn't become an international star in the same ranks as Simionatao or Bumbry. She's every bit as strong, both vocally and dramatically and certainly deserved more recognition than she got. DelMonaco is his usual thrilling, brutish self, rarely making Radames more than two-dimensional, but there really wasn't anyone better than he at the time.
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Format: Audio CD Verified Purchase
I would agree with lesimore26 about the performance; It appears to be a very good performance with Callas at the top of her game and the other principals quite good.
That said, I do not agree with the reviewer that the sound represents anything close to good 1950's monophonic sound. The voices come through pretty well, but the orchestra is terribly consticted, especially so in the bass. There is also a good deal of distortion. The potential buyer needs to be prepared to put up with some pretty rough sound to hear "La Diva" at her best.
I have a performance of the old HMV Aida recorded in the studio in the late 1920's and it sounds at least as good. Also a pretty good performance.
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Format: Audio CD
This Aida ist exciting, beautiful, gorgeous and definite! Callas' E-flat stunt is a MIRACLE plus her being in EXCELLENT voice makes this the DEFINITE Aida. Enjoy a Callas in TOP-form! Only Leontyne Price sang an Aida that moved me like this!
A++++++++++++++++
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Format: Audio CD
This performance of Aida came as an enormous surprise to me, when I first heard it. I had heard the EMI recording with Callas, Tucker, Farbieri and Serafin, and found it sedated. I didn't think it was it very excting and grand. I then bought other Aidas, among then the Price, Vickers recording, and found them all much better. But when this one came into my possesion, I was completly hooked on it since. Callas was so extremely much better. She performed the opera so incredibly exciting that I am moved to tears every time I listen to it. In all her arias, duets and esembles. The triumphant scene is particulary effective, with her soaring over the whole esemble with her magnificent voice. Callas was in such a magnificent voice back then and she is at her very best here. Her partners are no less great, either. With Mario del Manaco as powerful and exciting as ever. He may produce too many loud sounds, but he sure is exciting to listen to. His Ramades is very passionate and sounds like a hero. Oralia Dominguez is also an exceptional Amneris. So manacing and sensitive. She is really great in the judgement scene in the beginning of act 4 and is really heartbreaking in her last lines in the opera. Giuseppe Taddei's Amonasro is also very good. His dark baritone voice is perfectly suited to the role displaying the king's rage and conviction. The scene with Callas and he is really a high point.
And then there is the exciting conducting of Oliviero de Fabritiis, one of the great Verdi conductors of the 30s, 40s and 50s. He really makes it exciting and unlike Umberto Mugnai, who also conducted in Mexico in 1951, really holds the performance together and under his complete control. I haven't heard as exciting conducting since Karajan conducted the performance with Tebaldi and Bergonzi.
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