Search - Verdi, Tebaldi, Bergonzi :: Aida

The Perfect Aida!

12/10/1998

(5 out of 5 stars)

"This recording is quite possibly the most perfect Aida on record. Bergonzi is absolutely perfect as Rhadames. His opening aria, "Celeste Aida", is absolute perfection. Tebaldi is in rare form here, turning in the most beautiful "Ritorno Vincitor" I've ever heard. Of all the Amnerises I have ever heard Siomonato is the absolute greatest. The Nile scene and the final Tomb scene is positively ethereal. Von Karajan's conducting is absolutely breathtaking. An Aida this great has never been recorded before or since the von Karajan performance. Von Karajan is truly inspiring in this recording (and it is reflected in the performances of all the singers here). This is THE Aida to own. Not enough good things can be said about this recording. Absolute perfection. I put this in my list of the ten greatest opera recordings of all time."

AN GREAT ORCHESTRAL "AIDA"

06/18/1999

(4 out of 5 stars)

"This 1959 recording of "Aida" is a very important one in the history of this opera on records. It was the first stereo version of "Aida" and in many quarters was touted as an ideal "stereo-demo" recording. The sonics still are pretty powerful and by and large, the original sound has transferred to CD intact. Plainly, this is von Karajan's "Aida" from start to finish, and he acquaints himself very well indeed. On no other "Aida" recording does one hear the sheer beauty of the orchestral score come through so beautifully. Von Karajan takes a broad and expansive view of the score and his is a glossy and spectacular reading of the opera. The one big drawback to this recording, however, is the fact that the orchestra has been placed front center and the singers far in back. It's almost as though a vacuum existed between singers and orchestra. Case in point: Gulietta Simionato, a great Amneris is ever there was one, had a powerful mezzo voice that could break the operatic sound barrier. Here she sounds occasionally underpowered. The greatness is there, but it doesn't come across as it always did in the opera house (especially in this role). Renata Tebaldi is in as good Aida voice as she could still be in 1959 (though she had all but given up the role by then), singing with polish and warmth. Carlo Bergonzi's impecable good taste and lyrical sound make his Rhadames one of the best ever recorded. The Amonasro of Cornell MacNeil is well sung, but his impersonation of the role is somewhat distant. But again, this is a Von Karajan show, and the singers follow his lead accordingly. It all adds up to a very good idea, but perhaps not what all lovers of this opera may be looking for. There are other wonderful and very different performances of "Aida" on CD. If one is looking for a valid stereo alternative, then they should definitely investigate the Solti version with Leontyne Price, also on London. If one is willing to accept perfectly acceptable monophonic sound, then they should opt for the two great versions recorded during the summer of 1955. The first is the vintage RCA version with Milanov, Bjoerling, Barbieri, and Warren under Jonel Perlea, and the second is the La Scala set with Callas, Tucker, again Barbieri, and Gobbi. Both sets have stood the test of time well, and each has attributes that are better experienced than discussed here."