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Aida
Elena Souliotis was taking the world by storm in the late '60s, and while Aida presents a formidable test of vocal technique, this performance reveals both her raw talent and the first signs of the technical strain that would eventually shorten her career. Still, she sings with remarkable openness and generosity, qualities that give her Aida an undeniable emotional pull. Simply put, Shirley Verrett is one of the greatest Amnerises I have ever heard. She strikes a powerful balance between imperiousness and vulnerability, with an Act IV scene that is nothing short of astonishing. Those high B-flats must have been shattering in the house.
Amedeo Zambon, a tenor very much in the mold of Del Monaco, may not offer much in the way of nuance, but delivers thrilling high notes with abandon. Giangiacomo Guelfi sets the stage ablaze as Amonasro, bringing the vocal color of a bass and the security of a tenor to the role.
Track List
Act I
1. Preludio
2. Sì, corre voce che l'Etiope ardisca sfidarci ancora
3. Se quel guerriero io fossi!... Celeste Aida
4. Quale insolita gioia nel tuo sguardo
5. Vieni, o diletta, appressa
6. Alta cagion v'aduna, o fidi Egizi
7. Su! del Nilo al sacro lido
8. Ritorna vincitor!
9. Possente Ftah, del mondo spirito animator, ah!
10. Mortal, diletto ai numi
2. Sì, corre voce che l'Etiope ardisca sfidarci ancora
3. Se quel guerriero io fossi!... Celeste Aida
4. Quale insolita gioia nel tuo sguardo
5. Vieni, o diletta, appressa
6. Alta cagion v'aduna, o fidi Egizi
7. Su! del Nilo al sacro lido
8. Ritorna vincitor!
9. Possente Ftah, del mondo spirito animator, ah!
10. Mortal, diletto ai numi
Act II
11. Chi mai fra gl'inni e i plausi
12. Fu la sorte
13. Alla pompa che s'appresta
14. Gloria all'Egitto, ad Iside
15. Marcia
16. Vieni, o guerriero vindice
17. Salvator della patria, io ti saluto
18. Quest'assisa ch'io vesto vi dica
12. Fu la sorte
13. Alla pompa che s'appresta
14. Gloria all'Egitto, ad Iside
15. Marcia
16. Vieni, o guerriero vindice
17. Salvator della patria, io ti saluto
18. Quest'assisa ch'io vesto vi dica
Act III
19. O Re, pei sacri numi
20. Gloria all'Egitto, ad Iside
21. O tu che sei d'Osiride
22. Qui Radamès verrà!... O patria mia
23. Ciel! mio padre!
24. Pur ti riveggo, mia dolce Aida...
25. Aida!... Tu non m'ami!
26. Tu, Amonasro!...tu, il Re?
20. Gloria all'Egitto, ad Iside
21. O tu che sei d'Osiride
22. Qui Radamès verrà!... O patria mia
23. Ciel! mio padre!
24. Pur ti riveggo, mia dolce Aida...
25. Aida!... Tu non m'ami!
26. Tu, Amonasro!...tu, il Re?
Act IV
27. L'aborrita rivale a me sfuggia
28. Già i sacerdoti adunansi
29. Chi ti salva, sciagurato
30. Ohimè! morir mi sento!
31. Sacerdoti- compiste un delitto!
32. La fatal pietra sovra me si chiuse
33. O terra addio
28. Già i sacerdoti adunansi
29. Chi ti salva, sciagurato
30. Ohimè! morir mi sento!
31. Sacerdoti- compiste un delitto!
32. La fatal pietra sovra me si chiuse
33. O terra addio
Customer Reviews
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4.0
Based on 2 reviews
✓ Top Reviewer
United States
Exciting Performance in Good Sound!
If Verdi had heard Verrett's performance here, he might well have changed the title of the opera to Amneris. She is simply sensational. Her voice, one of the greatest of the last century, is not only sleekly beautiful, but thrilling. Listen to the top notes in the Judgement Scene if you want to understand what "squillo" means. I agree with Eric S. below: why did she have to try to be a soprano when she already ruled the world as a terrific mezzo?Souliotis sings convincingly, but unevenly. The first two acts find her in her element. Her Nile scene has its moments, but the finesse the music requires just isn't hers to command. She makes it to the high C in "O patria mia" just fine, getting off it almost as soon as she gets there. The voice lacks a solid column of breath support; it always did. If you want to hear her sing the role even better, try Opera Depot's other recording with her from Mexico City 1966. One can hear her great potential while lamenting with hindsight that it was never completely fulfilled. Zamboni is good, if not great. Roni and Zaccaria are superb in their roles and Guelfi is an intimidating Amonasro. Rescigno conducts an exciting performance with a second act finale that will make you glad you love opera.The sound is acceptable. I wish the file corruption in the last eight minutes of the opera wasn't there (what Andy calls skipping), but it was also in another copy of this performance from a different source so it stems from the original master.
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✓ Verified Buyer
United States
Lower voices rule!
This is a solid performance of Aida, lent distinction by the Amneris and Amonasro. The dark velvety tonal beauty, total dramatic commitment, musical refinement, and awesome virtuosity Verrett brings to this role makes me wonder (yet again) why this artist, clearly the best in her Fach, later decided to go astray as a not-very-convincing spinto soprano. Guelfi delivers thrills with his tremendous voice, stylistic authority, and theatricality. Souliotis is prdictably variable, far better in the first two acts and very much adrift in the Nile Scene. Zambon is largely a neutral factor.
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