Régine Crespin assumes the title role of Aida with mixed results. As always, her luscious soprano soars over the orchestra with ease, offering torrents of sound that one can only imagine were thrilling in the theater. By the early 1960s, however, the top of her voice was beginning to become somewhat tentative, and one can sense a degree of apprehension as she approaches some of the score's more challenging moments.

She is aided by Jon Vickers, who proves a sensitive colleague, at times joining her during the Act III duet in what I imagine was an effort to make her feel less exposed during a particularly difficult vocal ascent. Vickers demonstrates that he was not immune to the challenges of the score himself, opting to take a few high notes down. Despite these brief adjustments, the pair bring considerable vocal allure and dramatic conviction to their roles, ultimately delivering a more rewarding performance than one offering mere vocal perfection.

Belén Amparán, a woefully underappreciated singer, is a commanding presence as Amneris, matching the oversized vocal personalities of Vickers and Crespin particularly well.