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Aida
CD DetailsEdition: Music CD CD Release Date: 2006-10-17 Music Label: EMI Classics Soundtracks: Music CD 1- Preludio
- Si, Corre Voce Che L'Etiope Ardisca
- Se Quel Guerrier Io Fossi!
- Celeste Aida
- Quale Insolita Gioia Nel Tuo Sguardo!
- Vieni, O Diletta, Appressate
- Alta Cagion V'aduna
- Su! Del Nilo Al Acro Lido
- Ritorna Vincitor!
- Possente, Possente Ftha
- Sacred Dance Of The Priestesses-Mortal, Diletto Ai Numi
- Nume, Custode E Vindice
- Che Mai Fra Gl'inni E I Plausi
- Dance Of The Moorish Slaves
- Vieni, Sul Crin Ti Piovano
- Fu La Sorte Dell'armi A' Tuoi Funesta
- Pieta Ti Prenda Del Mio Dolor
- Su! Del Nilo Al Sacra Lido
- Gloria All'Egitto, Ad Iside
- Triumphal March
- Ballet
- Vieni, O Guerriero Vindice
- Salvator Della Patria
- Che Veggo! Egli? Mio Padre!
- Il Dolor Che In Quel Volto Favella
- O Re, Pei Sacri Numi...Gloria All'Egitto, Ad Iside
Music CD 2- O Tu Che Sei D'Osiride
- Vieni D'lside Al Tempio
- Qui Radames Verra!
- O Patria Mia
- Ciel! Mio Padre!
- Rivedrai Le Foreste Imbalsamate
- Pur Ti Riveggo, Mia Dolce Aida
- Nel Fiero Anelito Di Nuovia Guerra
- Fuggiam Gli Ardori Inospiti...La, Tra Foreste Vergini
- Ma Dimmi: Per Qual Via
- L'abborrita Rivale A Me Sfuggia
- Gia I Sacerdoti Adunansi
- Ohime! Morir Mi Sento!
- Spirto Del Nume, Sovra Noi Discendi!
- A Lui Vivo, La Tomba!
- La Fatal Pietra Sovra Me Si Chiuse
- Vedi? Di Morte L'angelo
- O Terra, Addio
Music reviews of AidaMusic Review: Verdi's Myth Comes to Life Rating: 5 Stars
A beautifully conducted Aida, which is rare, indeed: would you believe that the orchestral parts are made to sound like symphony? One of the atypical instances when the listener does not get bored and does not jump to the next track during the ballet scenes when listening to the CD, not watching the show.
Also Zubin Mehta belongs to a very small group of conductors who understand the importance of the Temple Scene. Here many conductors rush on, or do not place enough emphasis on the scene, apparently trying to get rid of it asap! Perhaps sometimes because they don't have the right singers to do it, as it is an extremely difficult moment. But this rendition is different.
Here, Verdi created his own mythology, it doesn't mater that he used the names of Egyptian gods throughout: both he and the librettist seem to have known little about Egypt, but aesthetically, this is a crowning achievement. Verdi, relying on singularly impressive lyrics, which is something usually unheard of at the opera, used his means (voices, harmony, modes) to beget the prayer to the creator god: "Vita dell'universo, Mito d'eterno amor" (life of the universe, myth of eternal love), "fuoco increato" (uncreated fire), "Tu che dal nulla hai tratto L'onde, la terra, il ciel" (Thou who hast created water, earth, and heaven out of nothingness). A crucial scene, in a splendid rendition, placing emphasis on Verdi's harmony and melodic line, bringing forth the sacredness. Although the chorus is a bit too loud by the end.
Wagnerian soprano Birgit Nilsson must have made enormous efforts, sometime successful, to master the role of Aida, aware that she was up against Franco Corelli. She does sing some beautiful notes, but she is very boring in "Ritorna vincitor" and in "Qui Radames verra . . . O, patria mia." In the Tomb Scene, she sings a beautiful "il ciel" (heaven) (G flat in piano), but without consonants in "Volano al raggio dell'eterno di" ([the wandering souls] are taking flight to the resplendence of eternal glow): she sounds "v....aaaaaa dell'eterno di," but the high notes, especially the B flat, are excellent.
Franco Corelli sings here one of his signature roles, with a very good rendition of the tremendously difficult "Celeste Aida," doing Verdi's morendo on the final B flat. The Tomb Scene is sung a bit unusually, with a more lyric voice. He sounds desperate in "dolor" (suffering) and does his diminuendi on "raggio" and "eterno di."
Mario Sereni is less impressive and not very nuanced in the terribly difficult and crucial role of Amonasro, and Grace Bumbry is too light for Amneris, a dramatic role she should not have tackled. And do not expect to hear Amneris' desperation when she warns Radames against the horrible fate awaiting him and blames herself for her jealousy. But at least in the Tomb Scene, she sounds good, singing a soft prayer, not with brutal and/or dark sounds as some mezzo sopranos tend to.
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