Verdi: Aida

[knight66]

Price, Gorr and Vickers for me: I know that as suggested, Gorr does not sound young, but she has a powerhouse of a voice. No tenor does as much with the words as Vickers. Correli on Mehta does the diminuendo at the end of Celeste Aida, but he hammers lots of other phrases like a mallet.

Mike

[king ubu]

Not sure yet what my favorite "Aida" is ... if I had to name one right now, it would be Perlea 1955, but I need a few more years for it to sink in I guess, as it's so far not even a real favorite regarding Verdi or opera in general.

Anyway, I just see that aFR, aIT and aUK have the Pappano edition "under investigation" (not aDE or aCOM) - anyone has a clue what this might be about? The note provides no further information:

Item Under Review

While this item is available from other Marketplace Sellers on this page, it's not currently offered by Amazon.co.uk because customers have told us there may be something wrong with our inventory of the item, the way we are dispatching it, or the way it's described here. (Thanks for the tip!)

We are working to resolve this as quickly as possible. In the meantime, you may still find this product available from other sellers on this page.

http://www.amazon.co.uk/Verdi-Aida-Giuseppe/dp/B00Y9GQT7E/

[mc ukrneal]

Not sure yet what my favorite "Aida" is ... if I had to name one right now, it would be Perlea 1955, but I need a few more years for it to sink in I guess, as it's so far not even a real favorite regarding Verdi or opera in general.

Anyway, I just see that aFR, aIT and aUK have the Pappano edition "under investigation" (not aDE or aCOM) - anyone has a clue what this might be about? The note provides no further information:
http://www.amazon.co.uk/Verdi-Aida-Giuseppe/dp/B00Y9GQT7E/

Strangely, the US Amazon doesn't have this for the same product (same ASIN)...

[Gurn Blanston]

Strangely, the US Amazon doesn't have this for the same product (same ASIN)...

Not strange; we don't have any of the same ASIN's as in the UK, or at least I can say, when someone has posted one here or I have hunted one, it has never been the same. Frustrating sometimes.

[Tsaraslondon]

Anyway, I just see that aFR, aIT and aUK have the Pappano edition "under investigation" (not aDE or aCOM) - anyone has a clue what this might be about? The note provides no further information:
http://www.amazon.co.uk/Verdi-Aida-Giuseppe/dp/B00Y9GQT7E/

All seems to be ok now

[king ubu]

All seems to be ok now

... and it's ordered 

[El Chupacabra]

Price, Gorr and Vickers for me: I know that as suggested, Gorr does not sound young, but she has a powerhouse of a voice. No tenor does as much with the words as Vickers. Correli on Mehta does the diminuendo at the end of Celeste Aida, but he hammers lots of other phrases like a mallet.

Mike

Do you have other preferences for the individual popular arias such as Celeste, Qui Radames Verra O Patria Mia, Ritorna vincitor and O terra addio?

[knight66]

Caballe for the Aida arias and Baltsa for Amneris, Bjoerling is a splendid Radames.

Mike

[Tsaraslondon]

Caballe for the Aida arias and Baltsa for Amneris, Bjoerling is a splendid Radames.

Mike

I'd go with that, though Kaufmann's Celeste Aida is pretty stunning, with a truly pp morendo close.

Not an aria, but I'd choose Callas and Gobbi in the Nile Scene, and, now that I think of it, Callas for Ritorna vincitor too.

[Marsch MacFiercesome]

I'd go with that, though Kaufmann's Celeste Aida is pretty stunning, with a truly pp morendo close.

Not an aria, but I'd choose Callas and Gobbi in the Nile Scene, and, now that I think of it, Callas for Ritorna vincitor too.

Which Callas performance of "Ritorna vincitor" did you have in mind?- because for me, without question, it has to be her searing 1951 Fabritiis/Mexico City performance. Callas' dramatic colorings are of such stupendous majesty. I've never heard anything like it anywhere. 

[Tsaraslondon]

Which Callas performance of "Ritorna vincitor" did you have in mind?- because for me, without question, it has to be her searing 1951 Fabritiis/Mexico City performance. Callas' dramatic colorings are of such stupendous majesty. I've never heard anything like it anywhere.

True, though even when she recorded the aria in the studio in 1964, her performance is searingly dramatic and she recovers much of her earlier fire. I love this performance partly because of the sound, but also because of the circumstances surrounding its recording. It was during those late sessions with Rescigno in Paris. Apparently the day hadn't been going well and Callas was feeling tense and unhappy. During a break in the recording, Michel Glotz played a recording of Regine Crespin singing the aria, which had been recorded the previous day. Callas became quite animated, declaring the performance slow and lacking in any real drama. She asked if the parts were still there, and when told that they were, said "Come on, Nicola, let's do it." And that's what they did. In one take with no rehearsal. Maybe the challenge was what she needed, because the performance is thrilling and her voice sounds more secure than at any other time during these sessions.

[knight66]

I have found the 1951 performance on Spotify; it is amazing on the wing singing and acting. Once again in that aria I find that very rare quality with her: as though she is inventing the music as it unrolls. It is such a special quality and very few have it. I am now listening to more of the performance, sounds like an over all good cast. How does the set stand up more widely; leaving aside the harsh sound quality?

Mike

[Marsch MacFiercesome]

True, though even when she recorded the aria in the studio in 1964, her performance is searingly dramatic and she recovers much of her earlier fire. I love this performance partly because of the sound, but also because of the circumstances surrounding its recording. It was during those late sessions with Rescigno in Paris. Apparently the day hadn't been going well and Callas was feeling tense and unhappy. During a break in the recording, Michel Glotz played a recording of Regine Crespin singing the aria, which had been recorded the previous day. Callas became quite animated, declaring the performance slow and lacking in any real drama. She asked if the parts were still there, and when told that they were, said "Come on, Nicola, let's do it." And that's what they did. In one take with no rehearsal. Maybe the challenge was what she needed, because the performance is thrilling and her voice sounds more secure than at any other time during these sessions.

I couldn't agree more.

There is something so singular and glorious about the dramatic chiaroscuro brilliance of Callas' '64 studio "Ritorna vincitor!" that isn't heard by any other singer (outside of Callas' own '52 Mexico City performance, that is).

First, there's the absolutely fierce, dramatically compelling, and completely unique way Callas inflects the word "reggia" ("country") from the outset of the aria- where she aggressively and frustratingly reflects on how she just wished defeat on her father for the sake of her beloved. Callas' Aida is a princess who can be as imperious and commanding as they come- pure 'DIV-A.'

But then, coming around one-hundred and eighty degrees to the other side of the emotional spectrum, there's the most tender and heart rending inflections one will ever hear of Aida reflecting on the possibility of Radames being destroyed in battle by her father. The way Callas emotionally suffuses the words "E l'amor mio?" "And my love?") just rip my 'heart' out.  This is a woman who is almost beyond endurance- and so am I when listening to it. Ha.  Ha.  Ha.  Ha. 

Of course Greg mentions that this recording of the aria was done extemporaneously and without prior preparation.

Sheer brilliance. 

Genius of the highest order.

[Marsch MacFiercesome]

I have found the 1951 performance on Spotify; it is amazing on the wing singing and acting. Once again in that aria I find that very rare quality with her: as though she is inventing the music as it unrolls. It is such a special quality and very few have it. I am now listening to more of the performance, sounds like an over all good cast. How does the set stand up more widely; leaving aside the harsh sound quality?

Mike

Truth to tell, the sound quality of the '51 Callas/Del Monaco Mexico City Aida is so austere that I rarely listen to it in its entirety- so I really can't attest to the merits of the principals, the conducting, or the orchestral response.





When I listen to an entire Aida, I must confess I usually listen to the Caballe/Muti or the Freni/Karajan.

- But when I'm listening to "Ritorna vincitor!" all I can say is "Viva Mexico!"

[knight66]

Thanks MM.

Mike

[Marsch MacFiercesome]

Pleasure, Mike.

[Tsaraslondon]

Truth to tell, the sound quality of the '51 Callas/Del Monaco Mexico City Aida is so austere that I rarely listen to it in its entirety- so I really can't attest to the merits of the principals, the conducting, or the orchestral response.





When I listen to an entire Aida, I must confess I usually listen to the Caballe/Muti or the Freni/Karajan.

- But when I'm listening to "Ritorna vincitor!" all I can say is "Viva Mexico!"

These two would probably be my recommendations for a complete studio Aida too, but then I think of the Nile Scene, with Callas and Gobbi tearing up the sound stage, and I have to add this one too.



Mike knows my views on the Solti. Would that the same cast had sung it under Karajan!

[Marsch MacFiercesome]

These two would probably be my recommendations for a complete studio Aida too, but then I think of the Nile Scene, with Callas and Gobbi tearing up the sound stage, and I have to add this one too.



Mike knows my views on the Solti. Would that the same cast had sung it under Karajan!

Shelve thy Solti.

Put on thy Karajan.

AH-men.

[knight66]

You are a rotten lot you know.



Mike

[mc ukrneal]

Well I love the Solti and generally dislike the sound of Callas's voice (though no denying the greatness of the artist). So there!   
PS: I feel like I'm in the unpopular opinions thread!