Verdi - Aida / Caball? ? Domingo ? Cossotto ? Ghiaurov ? Cappuccilli ? Roni ? NPO ? Muti
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Music CD Cover
Edition: Music CDFormat: Box set, Original recording remastered
CD Release Date: 2001-09-11
Music Label: EMI Classics
Soundtracks:
Music CD 1
- Prld
- Act 1, Scene 1: Si, Corre Voce Che L'Etiope Ardisca
- Act 1, Scene 1: Se Quel Guerrier Io Fossi!
- Act 1, Scene 1: Celeste Aida
- Act 1, Scene 1: Quale Insolita Gioia Nel Tuo Sguardo!
- Act 1, Scene 1: Vieni, O Diletta, Appressati
- Act 1, Scene 1: Alta Cagion V'aduna
- Act 1, Scene 1: Su! De Nilo Al Sacro Lido
- Act 1, Scene 1: Ritorna Vincitor!
- Act 1, Scene 1: I Sacri Nomi Di Padre, D'amante
- Act 1, Scene 2: Possente, Possente Ftha
- Act 1, Scene 2: Danza Sacra Delle Sacerdotesse
- Act 1, Scene 2: Mortal, Diletto Ai Numi
- Act 1, Scene 2: Nume, Custode E Vindice
- Act 2, Scene 1: Chi Mai Fra Gl'Inni E I Plausi
- Act 2, Scene 1: Danza Degli Schiavi Mori
- Act 2, Scene 1: Vieni, Sul Crin Ti Piovano
- Act 2, Scene 1: Fu La Sorte Dell'armi A' Tuoi Funesta
- Act 2, Scene 1: Ebben, Qual Nuovo Fremito T'Assal, Gentile Aida?
- Act 2, Scene 1: Pieta Ti Prenda Del Mio Dolor
- Act 2, Scene 1: Su! Del Nilo Al Sacro Lido
- Act 2, Scene 2: Gloria All'Egitto, Ad Iside
- Act 2, Scene 2: Marcia Trionfale
- Act 2, Scene 2: Ballabile
- Act 2, Scene 2: Vieni, O Guerriero Vindice
- Act 2, Scene 2: Salvator Della Patria
- Act 2, Scene 2: Che Veggo! Egli? Mio Padre!
- Act 2, Scene 2: Ma Tu, Re, Tu Signore Possente
- Act 2, Scene 2: Il Dolor Che In Quel Volto Favella
- Act 2, Scene 2: O Re, Pei Sacri Numi
- Act 2, Scene 2: Gloria All'Egitto, Ad Iside
- Act 3: O Tu Che Sei D'Osiride
- Act 3: Vieni D'Iside Al Tempio
- Act 3: Qui Radames Verra!
- Act 3: O Patria Mia
- Act 3: Ciel! Mio Padre!
- Act 3: In Armi Ora Si Desta Il Popol Nostro
- Act 3: Padre, A Costoro Schiava Non Sono
- Act 3: Pur Ti Riveggo, Mia Dolce Aida
- Act 3: Nel Fiero Anelito Di Nuova Guerra
- Act 3: Fuggiam Gli Ardori Inospiti... La, Tra Foreste Vergini
- Act 3: Aida!... Tu Non M'Ami
- Act 3: Ma, Dimmi: Per Quale Via
- Act 3: Traditor!... La Mia Rival!
- Act 4, Scene 1: L'Aborrita Rivale A Me Sfuggia
- Act 4, Scene 1: Gia I Sacerdoti Adunansi
- Act 4, Scene 1: No, Vive Aida!... Vive!
- Act 4, Scene 1: Ohime! Morir Mi Sento!
- Act 4, Scene 1: Spirto Del Nume, Sovra Noi Discendi!
- Act 4, Scene 1: Radames, Radames, Radames
- Act 4, Scene 1: A Lui Vivo, La Tomba!
- Act 4, Scene 2: La Fatal Pietra Sovra Me Si Chiuse
- Act 4, Scene 2: Presago Il Core Della Tua Condanna
- Act 4, Scene 2: Vedi? Di Morte L'Angelo
- Act 4, Scene 2: O Terra, Addio
Free Music Notes for Verdi - Aida / Caball? ? Domingo ? Cossotto ? Ghiaurov ? Cappuccilli ? Roni ? NPO ? Muti
Free Music Review: Marvelous Aida!
Hit: 5 Stars
I love Aida. I own so many recordings that I've lost count as to how many I have in my library. In many ways, I think this is one of Verdi's most beautiful and sophisticated scores. Several conductors have handled (and butchered) the score, yet this recording shows how Verdi should really be sung and conducted. Riccardo Muti is perhaps the best Verdi conductor, even better than Toscanini (but not Serafin). His Verdi collection from EMI shows his talent from making the myriad of colors from Verdi's score emerge in such a way that would captivate the listener. His chosen tempi and dynamics are also very theatrical. The magic he performs with the orchestra brings out the several transparencies in Aida, and for this reason I would choose his conducting over that of Karajan's or Solti's. Granted, Montserrat Caballe is not a very visually appealing Aida, but her voice is magnificent--seamless from top to bottom, producing creamy tone wherever necessary. She isn't a true Aida. For that, you must go to Renata Tebaldi. However, Caballe manipulates her voice so that you would think that she was made for Aida. Placido Domingo sings with golden tone and committment throughout this performance. I think that this is a reference performance for Radames after Bergonzi's magnificent performance with Karajan. I'm sorry, but I never enjoyed Corelli's performance under Mehta. I thought he was past his prime there, and his lack of legato makes the private introspective moments sound overtly loud. His high notes are thrilling though. Piero Cappuccilli, one of the greatest Verdi baritones of the last century, sang an authoritative and brooding Amonasro. As wonderful as Gobbi's performance with Callas is, I think Cappuccilli's voice suited Amonasro better. Ghiaurov is a very looming Ramfis.
However, the main reason for me to purchase this set is for the high-octane performance of Amneris given by Fiorenza Cossotto. This brilliant mezzo soprano, whose career is suprisingly still ongoing, has a voice that was tailored to the temperaments of the Verdi mezzo roles. I think that while Giulietta Simionato may have had a warmer timbre, Cossotto inhabited the psychologies of her characters better. I have never heard a more demented Azucena from any other singer, and my recordings of her Eboli show a singer whose grace and elan are unequalled, even by the great Simionato. Her Adalgisa shows a secure instrument that is fluent in coloratura and brilliant in the top registers. Her Santuzza literally puts several sopranos into shame. Her Leonore from Donizetti's La Favorita is a reference performance, equipped with all the coloratura and very large, brilliant high notes. Her Dalila is simply seductive and powerful. Her Principessa di Boullion is menacing, and her Carmen is rightfully seductive. Her recorded Preziosilla on Levine's Forza is perhaps the most accurate and fun interpretation of the gypsy part I've ever heard. Her Lady Macbeth is fierce, and her Rosina is no pushover. Her Amneris, a role which she essayed frequently in many of the world's great theaters, is perhaps the definitive interpretation of the role. Neither Simionato or Barbieri could touch Fiorenza in the thrilling chest notes and the regal interpretation she gave the role. For her, and of course for the cast and Muti, should you buy this set. While some may find Tebaldi's Aida definitive, no one, in my opinion, can skirt around Cossotto's magnificent Amneris. Buy this Aida. It is an essential for any collection.
Verdi - Aida / Caball? ? Domingo ? Cossotto ? Ghiaurov ? Cappuccilli ? Roni ? NPO ? Muti Poster
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 Radam?s, 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 Caball?, Pl?cido Domingo, and Fiorenza Cossotto provide such voices, and Ricardo Muti conducts with a sense of drama and dynastic glory. --Joe McLellanClassical Music CDs
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