Aida-Complete Opera

Part of CD 1 in my Set is during the tenor aria " Celeste Aida" terribly destorted and the music is interrupted several times, and therefore is unlistenable. After that everything is fine and the sound is excellent for the time. If you will be lucky to find trouble free Set, Purchase it. Despite beeing sung in German, this is a great recording. Soprano Annelies Kupper (1906-1988) ranks among the best Aida's, her singing is beautiful, outstanding in every register, her creamy voice is soft as a velvet and her total performance is unforgettable . The same can be said about Margarete Klose ( 1900-1968) as Amneris. Her rich voice is powerful, beautiful and her interpretation is very convincing. The great German heldentenor Max Lorenz ( 1901-1975) brings all his qualities into the role of Radames, his voice isPowerful, but he can't equal the beauty of the great Swedish tenor Jussi Bjorling 's voice in this role. The voices of Otto Von Rohr as Ramfis and Rudolf Gonzsar as Amonasro, are powerful and display great experience in their parts.The famous mezzo soprano Christa Ludwig sings the role of Die erste Priesterin. Outstanding Chorus and Orchestra DES Hessischen Rundfunk is conducted with love and precision by Maestro Kurt Schroeder. In sum a great performance . Highly recommended.Ps. I am returning my defective Set , but I will be looking for one trouble free. This recording of Verdi's Aida is simply to good to be neglected or forgotten.

Excellent sound makes this "grand" opera leap from the speakers. The voices of Nilsson and Corelli are heaven sent. Good supporting cast and conducting. An excellent second choice

Al perfect on time and super

This particular recording of Verdi's "Aida" has provoked a great deal of discussion amongst opera-lovers and critics alike since its release in 1970. Much of the furor centered on the American operatic diva Leontyne Price, universally regarded as one of the greatest Aidas ever, and this, her 2nd recorded performance of the role. Most become mired in subjective comparisons between Ms. Price's vocalism and interpretation on the legendary Solti/ Decca "Aida" made in the '60s, and this recording, released on RCA in 1970. There is little need for such debate. "Aida" has enjoyed no greater performer of the role than Leontyne Price! Here, Ms. Price's voice has grown notably darker in color, the middle voice heavier and lusher in texture. Her lower voice has more bite (and more chest)and husk. The upper voice hasn't lost much(vibrancy),and has gained a creamier, velvety richness that yields sublime soft 'pianos'("Numi pieta"..."O Patria mia"...the Nile Scene...and "O terra,addio") and produces the 'con forza' neccessary for the climaxes in the opera. Ms. Price has stated that the key to performing this role(for her)is in recognizing that Aida is a Royal Ethiopean princess, and that attitude is prevalent in her performance here. The conception is grander, more regal, and pointed in relation to her earlier assumption with Solti. The diva uses her impressive vocal 'palette' to color the texts, illuminating the various dramatic situations expertly, no more so than in the Nile Scene where Aida must express sorrow in the aria, joy, then revulsion & terror in the duet with Amonasro, and then seduce Radames into duplicity. Ms. Price reigns supreme there, and is triumphant throughout in this recording. Comparisons be damned, Leontyne Price is unbeatable as Aida on recordings. Her Radames, tenor Placido Domingo, has recorded his role (3) times. He sings here with a youthful vitality that's appropriate for the ambitious Egyptian captain in love with Aida. Mr. Domingo's voice is darkly beautiful, with a distinct vibrancy in his middle voice that blossoms into a firm, full-bodied spinto upper voice that 'rings' on top. He's ardent in the love scenes, heroic in the climaxes, and uniquely successful at portraying Radames' vulnerability, making Aida's seduction in the Nile Scene and "Celeste Aida" more convincing than usual. Mr. Domingo's use of 'mezza voce' is never more appreciated than in "O terra addio", the opera's finale, where he & Ms. Price sing a soft, glowing "farewell" to earth that is heartbreaking. Mezzo-soprano Grace Bumbry recorded the role of the Egyptian princess Amneris once before this performance. This role is one of her most famous creations, and she demonstrates the reason for such acclaim here. Ms. Bumbry's voice is sable- rich in texture, with a dark, pulsing middle voice, powerful high notes, and a deep, resonant chest voice that's singular in its beauty. 'Amneris' is a three-dimensional character in Ms. Bumbry's hands, and vocally, the mezzo-soprano is superb at presenting the crafty, volatile, passionate nature of Aida's nemesis. Ms. Bumbry's voice alternately purrs beguilingly, snarls with fury, urgently pleads, and is plaintive when the drama demands it, all on display in her Act III duet with Mr. Domingo,and the explosive Judgement Scene that follows. She is a magnificent Amneris. Baritone Sherrill Milnes added the role of Aida's father 'Amonasaro' to the stellar list of Verdi roles he's renowned for with this recording. His portrayal is also more youthful than usual, but loses none of the dignity and stature that Verdi invested in the music. Mr. Milnes uses his voluminous instrument with a musical intelligence that is largely missing in his rivals' interpretations. His singing is nuanced, purposeful, & incisive, utilizing the strong, firmly- voiced middle to contrast with a superior upper extension, that balances his weak lower register(though not a great factor in this role). Mr. Milnes' duet with Ms. Price in the Nile Scene sizzles! The role of 'Ramphis' is intoned by basso Ruggiero Raimondi, whose vocalism is well-produced but static. (With rare exception, so are his rivals.) Maestro Erich Leinsdorf lacks the imaginative 'spark' that could have lifted this performance to definitive greatness, and instead, conducts a 'practised', thoroughly competent, and musically correct account of this GRAND opera. We are most fortunate that the cast is able to bring their own artistry & vision to the proceedings, and not be too influenced by the maestro's equanimity with the score. This recording has been re-mastered digitally, and the sonics are quite lively and true. There are indeed other more creatively- conducted performances, that feature 'Aidas' of great vocal beauty (Caballe, Milanov,Tebaldi,L.Price) & other superlative artists ( Cossotto,Simionato,Barbieri/ Bergonzi,Corelli,Tucker/ Merrill,Gobbi,Warren), but this performance has something its rivals don't: a sterling quartet of quintessential Verdians that includes 'Aida assoluta' Leontyne Price!!NOTE:Opera fans and critics' opinions can vary greatly at times because the Art form itself is prone to subjectivity & personal taste. However, there are certain technical and musical demands, most often created by the composer and/or "tradition" that are unavoidably objective, and with rare exception, are executed by the performers on this recording. I would urge fans and critics alike to demonstrate said 'taste' when reviewing any particular performance on this website (and elsewhere). One can disagree with an artists' output without being disrespectful, cruel, or, (far-worse) distortion, bordering on dishonesty. Love them or hate them, these performers are all artists, and merit respect- if not admiration. Basta!

SOURCE: EMI studio recording made during June, July and August 1967 at the Opera House in Rome. Producer: Ronald Kinloch Anderson.SOUND: Good mid-1960s analogue stereo satisfactorily remastered into digital form.CAST: Aida, an Ethiopian slave to Amneris - Birgit Nilsson (soprano); Radames, a captain of the royal guard destined for higher things - Franco Corelli (tenor); Amneris, the daughter of Pharaoh - Grace Bumbry (mezzo-soprano); Amonasro, the warrior King of Ethiopia - Mario Sereni (baritone); Ramfis, the High Priest - Bonaldo Giaiotti (bass); King of Egypt - Ferruccio Mazzoli (bass); a messenger - Piero De Palma (tenor); a priestess - Mirella Fiorentini (soprano). CONDUCTOR: Zubin Mehta with the Rome Opera House Orchestra and Chorus.FORMAT: Four acts, 140:41.COMMENTARY: "Aida," like "Il trovatore," but unlike "La Traviata" or "Die Meistersinger," has been fortunate in generating many first-rate recorded performances which can recommended without qualm or caveat. This is one of them.However, opera fans, by their very nature, delight in endless debate about the relative merits of this conductor or that, of one Radames over another, about the importance of bite in the voice of Amonasro A compared to the mellifluence of Amonasro B, and most of all disputing the merits of the grand lady portraying the slave Aida. Ante up with a Callas and somebody will raise you with a Tebaldi (or two.) Toss out a Price or an Arroyo and get trumped with a Milanov. And on and on. I do not propose to get into pointless and unseemly debate about who is the greatest. (Besides, as anyone with any sense knows, it's Milanov.)I prefer a simpler measure of whether an "Aida" can be recommended without reservation. If I had seen this performance in an opera house, would someone have had forcibly to restrain me from standing on my chair to yell bravos and whistle? If so, it can be recommended with a light heart. This "Aida" can be recommended with the lightest of hearts.I think the greatest strength of this recording is to be found in two men. Franco Corelli simply shines in this outing. For once, and for all I know, for the only time in his career, he displays strength and delicacy in proper proportions. Take that galumphing old warhorse aria, "Celeste Aida." He strikes the final B-flat with the anticipated forte blast but most unexpectedly he drops down to piano, at once transforming the aria from the usual out-of-place warcry to the intended reverie. In the tomb scene at the end of the opera, he is simply faultless; there is no other way to describe him. The other man is Bonaldo Giaiotti who makes Ramfis into a true star part. Ferruccio Mazzoli, too, is impressive as the King of Egypt, but his role is too brief to have full effect. Mario Sereni's Amonasro is well-conceived and effectively offered, but by 1967 Sereni no longer had the sheer strength of the others--if he ever did.As Aida, Birgit Nilsson didn't have Milanov's sheer beauty of tone or Callas' insightful intensity, or Tebaldi's inborn italianata--but she was NILSSON and that was plenty impressive all by itself! In an opera house, she'd have blown me right out of my seat. Amneris isn't a role that I'd spontaneously associate with Grace Bumbry. In a perfect universe I'd prefer Barbieri, Simionato or the young Stignani, but in this mundane world, Bumbry will do just fine for me, thank you very much.As an opera, "Aida" can be approached as an intimate drama, as a large-scale spectacle or as something in-between. Mehta, I think, felt the pull of the spectacle, as did Solti in his outing with Price and Vickers. There is an largeness about the conceptions of the two conductors that is easily distinguishable from the intrinsically intimate approach taken by Serafin with Callas. Many people admire Solti for bringing out all the opera's orchestral detail in a thoroughly symphonic reading of the score. I, on the other hand, think Solti's "Aida" a dreadful case of bang, boom and bombast, as well as a deplorable waste of John Vickers' fine performance. I'll happily take Mehta on this one. If your ideal "Aida" is a spectacle, Mehta is the man for you.(Regarding Mehta and this recording, that good, grey English magazine, The Gramophone, has made an interesting U-turn. In 1990, the reliable and perceptive Alan Blythe said, "The most laming aspect of the performance is Mehta's stodgy and wayward conducting, which is only partially compensated for by the idiomatic performances of his Roman forces." In 1999, the same critic said, "They don't make them like this any more--in every sense. In the 1950s and 1960s EMI made a series of what have become truly classics with Rome Opera forces that have Verdi in their blood.... The young Mehta conducts with a deal of dramatic verve." Oh, yes.)Five stars reflected on the silent-flowing waters of the Nile.