Search - Mario Sereni, Giuseppe Verdi, Zubin Mehta :: Verdi: Aida (Highlights)

Nillson... Corelli... How can you beat them?

Rachel Howard | ocklawaha, Florida United States | 10/27/2001

(5 out of 5 stars)

"This is a passionate and powerful recording of one of Verdi's finest operas. For me, Nilsson and Corelli define my ideals of the voices needed for these roles. Nilsson's voice is stunning, with frightening fortissimos and ravishing pianissimos. Bumbry does a fine job as Amneris, while Sereni is adequate for my tastes. Franco Corelli seemed to be in fine voice during these recording sessions. His is a heroic Radames, rather than a poetic one, as Vickers was in the Solti album, and his voice shines with brilliance. As for the controversial diminuendo in Celeste Aida: unless Corelli himself tells me it's faked, I refuse to believe it. Why? I have my reasons. One critic said his voice sounded different on that last high B-flat. I wouldn't wonder: Franco took that note in head voice. For those who equate head voice with falsetto, think again; head voice can have plenty of ring to it, and can sound thoroughly manly, depending on the singer and the use he makes of it. He does the same with Nilsson in the final duet. Any other examples? His Italian language version of Jose's Flower Song from Carmen has the same effect in the high A leading to the climax. Unless I miss my guess, that was recorded in front of a live audience. (That should be on An Evening with Franco Corelli, available through Amazon.com, just in case you want to listen to it.) Another critic said it had to be faked because he heard a reverberation of Corelli's voice even though he ended the note very softly. Wake up, you nut! That hall was obviously a live environment, acoustically speaking. Even quite a soft sound can reverberate. I know: I've done it myself. (Not Corelli's fabulous diminuendo, but making a reverberation appear, even on a softly sung note.) Did the engineers fade that note? I don't think so. I've heard that done for other singers, and I've tried to do so myself. It just does not sound the same. Not even close. And I have the original recording on vinyl. I doubt if they could have faked it so flawlessly back then.
Anyway, no critic I know of in his or her right mind disputes the power and brilliance and passion of Franco Corelli's voice. They might hate him, but they can't say he's a wimp! This voice could caress the ears, then peel the paint off the walls. For my tastes, Franco Corelli has only one competitor as Radames, and that's Jon Vickers. Bjorling? Beautiful sounds, but he's pushed too far by the demands of the role. Bergonzi? The voice simply does not `open up' enough.(Not enough `sqillo' or `ring' for this role.) Domingo? To me, his technique lacks the freedom needed to tackle this role the way I like it. I must admit I've heard only his first two tries, and I do like the Domingo of the later years better than the early years. I don't even want to think about Pavarotti's version. Pavarotti is absolutely one of my favorite singers of all time, but he is not a Radames to these ears. Del Monaco? Not for me, in the recording I heard.
How about the conducting? Mehta leads a powerful performance, second only to Solti's in all the versions I've heard, in my opinion. This is a grand Aida, and this highlights set has a lot of music. They don't short you here, and, at the price, this CD is a steal. The transfer to CD has stunning sound, still packing a wallop after all these years. Go for it!"

One of the greatest recorded Aidas

biliescu@necomm.ro | Iasi, Romania | 01/25/2001

(5 out of 5 stars)

"The competition on the recorded market of this opera is somehow tough if you only think of Karayan's recording from Decca or Mutti's from EMI. This one comes to the top due to some very strong points. First is Corelli's Radames, in my opinion the best Radames from all. Just listen to the diminuendo in "Celeste Aida" or in the closing aria and you'll understand what I mean. The wagnerian voice of Birgit Nilsson gives Aida a very convincing character. The swedish soprano's technique manages the role beautifully and adds drama to the opera. Grace Bumbry defines her character nicely and you can feel her love and suffering. All the other voices support the soloist compartment very well (a plus for Mario Sereni) under the batton of Zubin Mehta which may not convey as much detail as Karajan or Mutti but his orchestra (of Rome Opera) supports the action very well has very beautiful "solo" performances (the dance or the march) and completes extremely well the soloists. Overall this is a box for every Verdi collector, solid in every department and exceptional in the key roles. you have to listen Corelli's Radames in the best sound capture and the best cast he recorded this role with."

A glorious Aida

Bogdan Iliescu | Houston, TX USA | 06/10/2004

(5 out of 5 stars)

"I must agree with everything said here. I'm the lucky owner of the full set, on a previously EMI transfer on cd. And so far is the most rewarding Aida I have heard (and I heard Karajan's, Muti's and one of Callas' with R Tucker). Everything from conducting which is rock-solid and beautifully blended to the choir and trumpets in the march is what this opera should be about.First and foremost is the amazing Corelli who does one of his landmark characters here. He is heroic and gentle in the same amount and could pull you up from the chair or can bring tears from your eyes in the final duet. And you must be really malintended to say that his diminuendo (amazing to almost unbelievable) is a fake. And the way it serves the moment is the mark of an outstanding artist.And yet you can't say that this set should be called Radames. Nilsson is powerfull. Great voice sometimes a little to great for my taste but on the other hand I can't see many sopranos standing next to Corelli in the kind of shape he shows here. A very real and believable Aida. The duos with Corelli are so full of emotion, intensity and glorious voice you couldn't wish for more. Very good indeed.Sereni is the big surprise. Even if he doesn't have the greatest of beritone voices he sounds passionate and defines his character in great and very beautiful detail. A real accomplishment.And don't make any mistakes. Grace Bumbry comes up with an Amneris that is everything you expect her to be. You can feel her pain her deep conflict with Aida, her love for Radames all in beautiful singing. The high priest and the choir do a very fine job completing a great Aida. It doesn't have any weak moments. It is full instead of many great ones. It is impossible to go wrong with this version of this opera.A final mention for Mehta and his Roma opera orchestra. They sound gorgiously. I didn't feel sorry at any point missing the details of Karajan or Muti. They play with passion and strength giving the singers a prolific and inspiring sound environment. Their orchestral parts come very well as equals of great moments the singers bring. This is an Aida that proudly stands among the Aidas that make the rules in the recording history. One of the very heavy measures for the others recordings."