Cheap Verdi: Aida (Music) (Giuseppe Verdi, Tullio Serafin, Maria Callas, Fedora Barbieri, Elvira Galassi, Tito Gobbi, Giuseppe Modesti, Franco Ricciardi) Price
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| ARTIST: | Giuseppe Verdi, Tullio Serafin, Maria Callas, Fedora Barbieri, Elvira Galassi, Tito Gobbi, Giuseppe Modesti, Franco Ricciardi |
| CATEGORY: | Music |
| MANUFACTURER: | Emi Classics |
| MEDIA: | Audio CD |
| TRACKS: | Preludio, Si, Corre Voce Che L'Etiope Ardisca, Se Quel Guerriero Io Fossi!, Celeste Aida, Quale Insolita Gioia Nel Tuo Sguardo!, Vieni, O Diletta, Appressati, Alta Cagion V'Aduna, Su! Del Nilo Al Sacro Lido, Ritorna Vincitor!, Possente Ftha...Tu Che Dal Nulla Hai Tratto, Immenso Ftha!...Mortal, Diletto Ai Numi, Nume, Custode E Vindice, Chi 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 Sacro Lido...Numi, Pieta, Gloria All'Egitto, Ad Iside, Triumphal March, Ballet, Vieni, O Guerriero Vindice, Salvator Della Patria, Che Veggo! Egli? Mio Padre!...Anch'Io Pugnai...Ma Tu, Re, Tu Signore Possente, Il Dolor Che In Quel Volto Favella, O Re, Pei Sacri Numi...Gloria All'Egitto, O Tu Che Sei D'Osiride, Vieni D'Iside 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 Nuova Guerra, Fuggiam Gli Ardori Inospiti...La, Tra Foreste Vergini, Ma Dimmi: Per Qual Via, L'Aborrita Rivale A Me Sfuggia, Gia I Sacerdoti Adunansi, Ohime! Morir Mi Sento!, Spirto Del Nume, A Lui Vivo, La Tomba!...Sacerdoti: Compiste Un Delitto!, La Fatal Pietra Sovra Me Si Chiuse, Vedi? Di Morte L'Angelo...Immenso Ftha, O Terra, Addio |
| # OF MEDIA: | 2 |
| UPC: | 724355631626 |
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Customer Reviews of Verdi: Aida
A COMPELLING AND DRAMATIC 'AIDA" Maria Callas wasn't a natural Aida, as were sopranos like Zinka Milanov or Leontyne Price, whose perfectly placed Verdian voices were ideal for this role (their respective recordings of this opera are, of course, exemplary). But Callas had such a unique and compelling vocal personality, that she brought to Aida a quality that can be heard from no other soprano. Her voice on this recording, while not as firm and secure as it still could be in 1955 (the year of this recording), was capable of some amazing things.Her singing in the Act I trio is powerful and authorative; her "Ritorna Vincitor" has the thrust of steel and iron. Her "O Patria Mia" sounds beautiful until she goes for the climatic high C, which wobbles under pressure. This leads her right into the father-daughter duet with Tito Gobbi, in which together both singers produce a stretch of singing which bursts with pathos and drama. I've never heard this scene done better by anyone. The Callas-Gobbi combination (most notable in "Tosca") works its usual miracles here.Richard Tucker's Rhademes is unsubtle, a little staid, but certainly well sung. Fedora Barbieri's powerful and booming mezzo is wonderfully appropriate for Amneris, and she is a good foil for Callas in the Aida-Amneris interview scene.Tullio Serafin conducts the La Scala orchestra and chorus with authority and a good sense of drama, especially in the Nile Scene as well as the Judgement Scene. While I wouldn't make this my only "Aida" recording, I certainly wouldn't want to be without it.
Screaming???
Which recording are you listening to??? This Aida is gloriously sung!!! Certainly better than the live recording I have with Beverly Sills (!). Yes, she sang that role! THAT was helpless screaming! The only thing that is "screamed" in this recording the exposed C in Aida's aria. But who cares about one note? An opera is more than that! And not even Price sings the duet with Amonasro like Callas does here. I love Price's Aida (Esp. the one with Corelli) I'm sick of this tasteless Callas-bashing. If you don't like her, don't listen to her!
Aida is about everybody
I must say that this recording came as quite a dissapointment while listening. I believe more and more that this opera found its best reproduction later in the history of recorded music. I have listened to the famous recording of Muti and the impressive version of Mehta and I must say that they are better in almost every aspect.
First of all Serafin doesn't put the energy and drama that makes this opera so great. You won't find the keen and acute vision seen in his Rigoletto and Norma both with Callas. But he is not the worst.
The worst is for me Tucker. He is weak both as voice and dramatic production. His character sounds like an unimportant servant of egyptian aristrocracy and not the young lion meant to save the great civilization. When you have Domingo in Muti's and above all Corelli in Mehta's recordings you expect so much more and he just isn't able to give it to you. Corelli is the Radames by all means and probably this comparison makes me see Tucker so inapproriate innthis recording.
Fedora Barbieri is no match for Callas. She seems to be in not the best shape and both Amneris parts in above mentioned recordings are much more impressive and on the spot than this.
Callas and Gobbi are (again) a couple that has to be heard to be believed. The sense of drama and of music each of them and they as a duo have is not yet unsurpassed at least on disc. And they are the reward you get for your money from else a pretty weak recording. And you wouldn't expect that when you read the names of the cast and the conductor. Yet it is no match for the two mentioned recordings to say at least (the catalogue is quite generous with worthy Aidas, for all tastes).
I am really sorry for I am a Callas, Gobbi, Serafin fan but this is not their best achievement. By no means.