AIDA

For me, Aida is one of those perfectly composed works, alongside Don Giovanni and La Boheme, that rarely fail to please, even in so-called "mediocre" performances, as long as one is content to simply perform the music. Most of the great conductors have understood this, which is why we have so many wonderful recordings of it. Is there a "perfect" one? No, because everyone has their own idea of what that sounds like, and very seldom is there a consensus. Just to state up front, my personal ideal Aida would combine Price's Aida, Corelli's Radames, Zajick's Amneris, Cappuccilli's Amonasro, and Muti's orchestra and conducting. But on to the current recording.Warner Music has had the hype machine working for this release for several months now, which has typically devolved into controversy and criticism, mainly due to some casting choices. Now that it is out there for all to experience, I have to say that if there is any justice, this recording deserves to go down in history among the greats. First and foremost, there is Pappano's mastery of the whole enterprise. Ever since his symphonic Don Carlos, I have looked forward with interest to each of his releases and only occasionally have I been let down (I was underwhelmed by his Royal Opera Les Troyens, although not all of that had to do with the conducting), but Verdi has always been his greatest strength, and here he is conducting (one of) Verdi's greatest opera. I can't understate just how "right" so much of this music sounds, and he proves that structural clarity and accuracy, when allied with appropriate tempi, can be incredibly exciting in their own right. Only occasionally, such as in the triumphal march, does he fall slightly short of the electric thrills that Muti provides, but these instances are few and far between.Jonas Kaufmann, arguably the star of this recording and the first bone of contention among operaphiles, has an undeniable artistry and a voice that tends to be an acquired taste, not unlike Callas. And like Callas with Tosca, he has made me hear the role of Radames anew. Yes, he has the baritonal timbre, but it's not nearly as bothersome here as it was in his Butterfly recording or his broadcast of Faust from the Met. Not only that, but his high notes have more of a ring to them than previously heard. This makes me prefer him to Vickers, the other popular "baritenor" Radames, who tends to just tire me out. His "Celeste Aida," much maligned as "crooning", is beautifully phrased throughout and finally sounds like the tender love song it is.The next point of argument is the lead soprano, Anja Harteros. I say this as someone who loved Harteros in the Requiem and in just about any Strauss music she sings: I was totally prepared to hate her as Aida. Indeed, there are times when her treatment of the music is unusual, almost downright bizarre, but it is never less than beautiful, even when she is taxed by the sheer size of voice required by her. Her Nile Scene is something special, especially her duet with Radames, possibly the best I've heard. I am amazed that people have compared her unfavorably with Tebaldi who, at least on Karajan's recording, sounded tired, effortful, and almost constantly under pitch. Harteros also scores points with a very sincere, lived-in, straightforward characterization which ends up being very moving (and is also a trait shared by her two co-stars). Ekaterina Semenchuk presents an alluring, spoiled brat of an Amneris who is not a villain, but rather a character to be pitied. Her tone tends to be lean in the middle and lower range, which sometimes keeps her from belting out those chest tones, but her high notes are great and in Act 4, Scene 1 (my vote for one of the best things Verdi ever composed) she tears it up with the best of them.Tezier was a surprising choice for Amonasro, and he isn't bad and has worked on his Italian phrasing, but his voice often sounds dry and underpowered. In person, he is not looking well, and I hope he is taking care of himself. Schrott (sounding not at all like himself) and Spotti as Ramfis and the king, respectively, are great, but I almost wish they had switched roles. Eleonora Buratto as the Priestess sounds as though she could take over the big role any day now.Last but certainly not least, I have to mention the recorded sound, which is immediate, clear, yet very rich and warm with (finally!) enough room around the brass to keep them from sounding blatty (the one black mark on this ensemble's Rossini Stabat Mater). I am no fan of the typical marketing machine and would have nothing to lose by providing a negative review, but after owning (and, for the most part, loving) the Muti, Mehta, Karajan, Solti, and live Abbado recordings, I can say that this new one cheered my heart through and through and made me fall in love with this piece all over again.

I'm surprised at some of the less than enthusiastic reviews this recording has received on Amazon. I've listened to it straight through three times while comparing it to the Muti/Caballe, Solti/Price, and Karajan/Tebaldi recordings and I find this version superior to them all (although Solti has been a long time favorite). The sound, conducting, chorus and orchestral playing is all superb. You'll hear details in the singing and orchestration that you've never heard on other recordings. Also, I find the principles all to be on a par with the finest interpreters of these role. Kaufmann of course is a sensational Radames, and virtually the only one I know who actually makes "Celeste Aida" sound like the love song it's supposed to be. As for Harteros, while she may not have the piannisimi that Caballe has (who does?), the voice is beautiful and she gets inside the character more than any other Aida I've heard. One example: in the final scene as Radames is trying to push the stone that is locking them in their tomb, her simple 2 words, "In vain" show helplessness and despair. Then a moment later she begins "O terra addio" with such peaceful resignation that we understand she has moved from despair to exalted acceptance of her fate. It's a small detail, but her performance is filled with moments like these. Add that to a cast with no weak links and spectacular conducting and sound, and I think we can be very grateful to have any opera recording this excellent in a day when so few are even produced. So, with all respect to the greats of the past, I highly recommend this great new recording which I think, in many ways is the best of all.

LOvely things, especially Kaufmann. The rest of the cast is very good, but not really given space to characterize their roles properly. Pappano has repeatedly made recordings and DVDs where the orchestra comes first and then, maybe, the singers. He ignored Alagna for years and pushed his wife Angela forward who has no vocal talent. Here he ignores everyone, but Kaufmann can break through the fussiness and is super.The Amneris is way way off somewhere in the studio, and the Aida, very good indeed, is not placed well with respect to the mikes.Buy this, but als buy Tebaldi with Simionato as Amneris,(fabulous) and Corelli with Nilsson on EMI. The Corelli version of Radames is definitive. Also too, the Amneris of Obratzova is astounding with Domingo and Ricciarelli as Aida o n DGG.Corelli as Radames, Callas as Aida, Simionato as Amneris..there you have a cast, OR L. Price (smashes all before her.)