Giuseppe Verdi , Herbert von Karajan , Vienna Philharmonic Orchestra :: Verdi: AIDA - KOMPLETNA OPERA
Date of Recording: 09/1959
Venue: Sofiensaal, Vienna
A compelling Aida, especially for those who revel in a virtuoso orchestra going through its paces. Under Karajan's baton, the Vienna Phil plays with breathtaking elegance and refinement, not perhaps the ideal attributes of a Verdian pit band but undeniably exciting, as are the conductor's tempo choices, often faster or slower than usual. In 1959, Tebaldi remained a great Aida even if she was in fresher voice for her earlier mono recording. Bergonzi is a characterful Radames, Simionato a terrific, full-bodied Amneris, and the rest of the cast vocally fine, if occasionally bland. The excellent transfer is better balanced than earlier releases of this recording, helping to earn its place among the choice Aidas on disc, though I prefer RCA's mono version with Milanov and Bjorling from 1955, also at midprice. But you can never have too many Aidas. --Dan Davis
Composer: Giuseppe Verdi
Performer: Giulietta Simionato, Cornell MacNeil, Carlo Bergonzi, Piero de Palma, ...
Conductor: Herbert von Karajan
Orchestra/Ensemble: Vienna Philharmonic Orchestra, Vienna Friends of Music Society
Renata Tebaldi is magnificent
"Renata Tebaldi was an extremely consistent artist. Although time had its toll on her voice, it was in the form of gradual steps, rather than career-shattering lunges.
Tebaldi voice was at its freshest early in her career, she was able to sing lighter roles with a higher tessitura than later in her career. A good example of her singing during this period is her first recordings of Madama Butterfly and La Boheme, both 1951, which are very fine. Despite any (slight) vocal shortcomings that would later become present, she developed as an actress and her interpretations found a new dramatic quality particularly evident by the late 1950s. The Karajan Aida shows quite a change from her earlier performance besides Mario del Monaco back in 1952, being more dramatic and intense. The voice in 1959 is darker and slightly less comfortable on the high notes, but it had not diminished in size and it retains the beautiful, `womanly' characteristic evident since her earliest records- indeed these qualities remain and contribute to what is potentially her finest recording - Desdemona on the 1961 Karajan set beside Mario del Monaco.
The voice deepened and darkened again from the early 1960s towards the end of her career and Tebaldi's repertoire changed accordingly - typified by the title role of Ponchielli's La Gioconda, which she sang to great success on stage and on record.
My recommendations for opera fans that are yet to fall in love with Tebaldi are her recordings of La Fanciulla del West, La Forza del Destino, and Otello (Karajan). Besides these recordings, for early Tebaldi go for her first Boheme or Madama Butterfly and for an idea of what she was like later in her career go for her
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KLASYKA Opera
LYRICA / ERMITAGE Records numer katalogowy FAB 2245 z 2012 / 1959 roku. Made in Italy.
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Track Listings (18) - Disc #1
- Aida: Preludio
- Aida: Atto primo - Scena I: Si: corre voce che l'Etiope ardisca
- Aida: Atto primo - Scena I: Se quel gerrier io fossi! ... Celeste Aida (Radames)
- Aida: Atto primo - Scena I: Quale insolita gioia (Amneris)
- Aida: Atto primo - Scena I: Alta cagion v'aduna (Il re)
- Aida: Atto primo - Scena I: Ritorna vincitor! (Aida)
- Aida: Atto primo - Scena II: Possente, possente Ftha (Sacerdotessa)
- Aida: Atto primo - Scena II: Mortal, diletto ai Numi (Ramfis)
- Aida: Atto secondo - Scena I: Chi mai fra gl'inni e i plausi (Schiave)
- Aida: Atto secondo - Scena I: Fu la sorte dell'armi a tuoi funesta (Amneris)
- Aida: Atto secondo - Scena I: Su! del Nilo al sacro lido (Coro)
- Aida: Atto secondo - Scena II: Gloria all'Egitto (Popolo)
- Aida: Atto secondo - Scena II: Marcia e bllabile (Grand March & Ballet)
- Aida: Atto secondo - Scena II: Vieni, o guerriero vindice (Popolo)
- Aida: Atto secondo - Scena II: Salvator della ptria, io ti saluto (Il re)
- Aida: Atto secondo - Scena II: Che veggo! ... Egli? ... Mio padre! (Aida)
- Aida: Atto secondo - Scena II: Quest'assisa ch'io vesto vi dica (Amonasro)
- Aida: Atto secondo - Scena II: Ma tu, Ru, tu signore possente (Amonasro)
Track Listings (15) - Disc #2
- Aida: Atto secondo - Scena II: O Re: pei sacri Numi (Radames)
- Aida: Atto secondo - Scena II: Gloria all'Egitto (Il re, Popolo)
- Aida: Atto terzo: O tu che sei d'Osiride madre immortale (Sacerdotesse, Sacerdoti)
- Aida: Atto terzo: Qui Radames verra!... O patria mia (Aida)
- Aida: Atto terzo: Ciel! mio padre! ... Rivedrai le foreste imbalsamate (Aida, Amonasro)
- Aida: Atto terzo: Pur ti riveggo, mia dolce Aida (Radames)
- Aida: Atto terzo: Fuggiam gli ardori inospiti (Aida)
- Aida: Atto terzo: Tu! ... Amonasro! ... tu! ... il Re? (Radames)
- Aida: Atto quarto - Scena I: L'aborrita rivale a me sfuggia (Amneris)
- Aida: Atto quarto - Scena I: Gia i Sacerdoti adunansi (Amneris)
- Aida: Atto quarto - Scena I: Ohime! ... morir mi sento! (Amneris)
- Aida: Atto quarto - Scena I: Radames! Radames! Radames! Tu rivelasti (Ramfis)
- Aida: Atto quarto - Scena II: La fatal pietra sovra me si chiuse (Radames)
- Aida: Atto quarto - Scena II: Presago il core della tua condanna (Aida)
- Aida: Atto quarto - Scena I: O terra, addio (Aida)
Works on This Recording
1. Aida by Giuseppe Verdi
Performer: Giulietta Simionato (Mezzo Soprano), Cornell MacNeil (Baritone), Carlo Bergonzi (Tenor),
Piero de Palma (Tenor), Arnold Van Mill (Bass), Fernando Corena (Bass),
Eugenia Ratti (Soprano), Renata Tebaldi (Soprano)
Conductor: Herbert von Karajan
Orchestra/Ensemble: Vienna Philharmonic Orchestra, Vienna Friends of Music Society
Period: Romantic
Written: 1871; Italy
Date of Recording: 09/1959
Venue: Sofiensaal, Vienna
Length: 150 Minutes 0 Secs.
Language: Italian
Notes and Editorial Reviews
Forty-eight years have elapsed, and sopranos (Callas, Price, Caballé), tenors (Corelli, Domingo, Pavarotti), and conductors (Levine, Mehta, Muti) have come and gone, but this set still manages to be among the best Aidas ever recorded. Karajan was truly a whiz kid in those days, leading with fine-tuning and class as well as thrills, and the Vienna Philharmonic plays gorgeously under him. Some tempos are faster than we might expect, but nothing juts out uncomfortably and the drama piles up. The public moments are grand and exciting, but it's the private confrontations that essentially matter in this opera, and Karajan's cast is steeped in the music while passions simply bubble over. These singers have style as well as voice. To Read more nitpick, Tebaldi is not as insightful as Callas or as vocally glamorous (or secure) as Price, and Bergonzi lacks Corelli's virility and squillo, but together they make the most convincing pair of lovers on disc. Giulietta Simionato is in a class by herself as Amneris and Cornell MacNeil's Amonasro makes it clear why he was such a valuable baritone in the '50s and '60s. The big, vivid, John Culshaw sound at times overwhelms the singers, but this is a riveting performance, at a good price.
--Robert Levine, ClassicsToday.com
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