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Verdi: Aida

3 customer reviews

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Product details

  • Performer: Renata Tebaldi, Ebe Stignani, Mario Del Monaco, Aldo Protti
  • Orchestra: Rome Santa Cecilia Academy Chorus, Rome Santa Cecilia Academy Orchestra
  • Conductor: Alberto Erede
  • Composer: Giuseppe Verdi
  • Audio CD (1 Mar. 2004)
  • Number of Discs: 2
  • Label: London
  • ASIN: B00000421U
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 137,557 in Music (See Top 100 in Music)

Disc: 1
1. Overture - Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
2. Sì: corre voce che l'Etiope ardisca - Dario Caselli, Mario del Monaco, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
3. Se quel guerrier io fossi!..Celeste Aida - Mario del Monaco, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
4. Quale insolita gioia - Ebe Stignani, Mario del Monaco, Renata Tebaldi, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
5. Alta cagion v'aduna - Fernando Corena, Piero de Palma, Mario del Monaco, Dario Caselli, Renata Tebaldi, Ebe Stignani, Coro dell'Accademia di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
6. Ritorna vincitor! - Renata Tebaldi, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
7. Possente, possente Fthà - Dario Caselli, Coro dell'Accademia di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
8. Mortal, diletto ai Numi - Dario Caselli, Mario del Monaco, Coro dell'Accademia di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
9. Chi mai fra gl'inni e i plausi - Ebe Stignani, Coro dell'Accademia di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
10. Fu la sorte dell'armi a'tuoi funesta - Ebe Stignani, Renata Tebaldi, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
See all 14 tracks on this disc
Disc: 2
1. Salvator della patria, io ti saluto - Fernando Corena, Mario del Monaco, Dario Caselli, Coro dell'Accademia di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
2. Che veggo!...Egli?...Mio padre! - Renata Tebaldi, Ebe Stignani, Aldo Protti, Fernando Corena, Coro dell'Accademia di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
3. Quest'assisa ch'io vesto vi dica - Aldo Protti, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
4. Ma tu, Re, tu signore possente - Aldo Protti, Renata Tebaldi, Dario Caselli, Fernando Corena, Mario del Monaco, Ebe Stignani, Coro dell'Accademia di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
5. O Re: pei sacri Numi - Mario del Monaco, Fernando Corena, Ebe Stignani, Dario Caselli, Coro dell'Accademia di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
6. Gloria all'Egitto, ad Iside - Fernando Corena, Dario Caselli, Renata Tebaldi, Mario del Monaco, Ebe Stignani, Aldo Protti, Coro dell'Accademia di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
7. O tu che sei d'Osiride - Dario Caselli, Ebe Stignani, Coro dell'Accademia di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
8. Qui Radames verrà!...O Patria mia - Renata Tebaldi, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
9. Ciel! mio padre! - Renata Tebaldi, Aldo Protti, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
10. Pur ti riveggo, mia dolce Aida - Mario del Monaco, Renata Tebaldi, Orchestra dell'Accademia Nazionale di Santa Cecilia, Alberto Erede
See all 19 tracks on this disc

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Customer Reviews

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Most Helpful Customer Reviews

5 of 5 people found the following review helpful By Ms. E. Arkady on 21 Jun. 2007
Format: Audio CD Verified Purchase
I really enjoyed this CD, the singing of all the cast is excellent, especially Renata Tebaldi. Just one warning though, it is in MONO and the Amazon details don't tell you that. Having said that, the annalogue to digital re-mastering is excellent and I found it really comfortable to listen to from end to end. Good value I reckon too. I have no hesitation in recomending this recording.
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5 of 6 people found the following review helpful By Ralph Moore TOP 50 REVIEWER on 19 Nov. 2007
Format: Audio CD
While I agree with much that William Clegg said in his review on Amazon.com back in 2000, I think his overall assessment is much too harsh. No it's not the best "Aida" available - perhaps the Muti or one of the Leontyne Price recordings fits that description - but it's surprising, considering I can choose from nine different recordings in my collection, how often I pull down this one. It's opera of the old Italian school and its shortcomings - mono (but still quite spacious) sound and some rough orchestra ensemble - are negligible compared with its glories. Tebaldi is here much more secure than in the later Karajan recording, del Monaco is in clarion voice and not wholly without subtlety, pace his detractors, Stignani is still, to my ears, a tower of strength and I certainly do not agree with Mr Clegg's verdict on Caselli; I find his voice rich, robust and more than adequate; rather it's Corena who sounds a bit rocky to me, in fact. Protti may not be the greatest of post-war Verdi baritones but he seems to me to be on top of his role and I think he embodies the irascible, percussive Amonasro well while still occasionally mustering sufficient vocal smoothness in the more lyrical passages; his confrontation with Aida in Act Three is very effective. If you're unsure, try to listen to an extract from that duet and I think you'll be convinced. We'd queue round the block to hear an "Aida" this well cast today. At this price - especially in the Marketplace section; as little as about $8 delivered - what more do you want? This is the companion piece to the Erede "Otello", equally under-estimated (see my review) but this time in stereo. One could do a good deal worse than invest so few dollars in each and get to know two great operas performed in the Grand Tradition.
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3 of 4 people found the following review helpful By Viva Verdi on 3 Dec. 2013
Format: Audio CD
Renata Tebaldi recorded Aida just seven years later with Decca, again, but in stereo under Karajan. Here Tebaldi demonstrates why she was grabbed so quickly by Decca to challenge Callas on EMI, and whilst I would not want to choose between them, there is something about Tebaldi that is just right for Aida.

When Mario Del Monaco opens his mouth you'll have never heard anything like it before. He has his detractors (haters, more like) but I think in the right role, like Radames, he is wonderful. His timbre is so dark and steel-like. It's just a wow!

Ebe Stignani was replaced by Giulietta Simionato for the stereo recording in 1959, but on this recording she is all you need for Amneris - ample volume, and a comforting timbre. Aldo Protti, similarly, was overshadowed by his contemporaries (Taddei, Bastianini, Merrill. MacNeil, Gobbi) but he had a fine robust baritone voice. Alberto Erede brings all the forces together quite ably.

The sound is great for 1952, but of course they couldn't cover all bases with an opera of this scale, so the chorus is distant.

If you want the definitive Aida this is probably not it (for that you should buy the Caballe/Muti on EMI, or my favourite the Price/Solti on DECCA) but this is worth having purely to hear an all-Italian cast of the golden era. Never the like again, they say, and I can't disagree.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 8 reviews
34 of 42 people found the following review helpful
Only serious collectors need apply. 23 May 2000
By Trent Clegg - Published on Amazon.com
Format: Audio CD
As a cohesive, compelling performance, London/Decca's 1952 recording of Verdi's AIDA falls rather short though it boasts some beautiful singing, clear monophonic sound, and an attractive price for such a starry cast. This set's shortcomings stem mainly from the conductor, Alberto Erede. He is too deliberate in pacing the first two acts, draining the lifeblood from the performance, and allows some incredibly rough ensemble both between the orchestra and vocalists and within the orchestra itself. Things go much better in the second two acts for orchestra and conductor, although they still have a hard time staying with Tebaldi during "O patria mia".
Speaking of Tebaldi, her vocal performance is somewhat better than the one she recorded in 1959 with Herbert von Karajan and the Vienna Philharmonic. Her voice has the same honeyed tone, but boasts greater security in its upper reaches and truer intonation thoughout. Tebaldi's histrionic prowess is clearly in its embryonic stages and she doesn't penetrate more than a few layers past the skin's surface in her portrayal, a reading not really "hammy" but definitely not subtle either. In any case, her performance here shows why Toscanini dubbed her voice that of an angel.
Mario del Monaco is the Rhadames to Tebaldi's Aida. Vocally, there isn't a note he can't hit, a fact sometimes painfully apparent, as in his rendition of "Celeste Aida"; but as with so much of his work, his palette of vocal colors is limited to say the least. In short, although his voice is thrillingly virile, virility quickly becomes tiring when there's nothing to contrast it with.
As for the rest of the cast, the great Ebe Stignani as Amneris is past her prime and doesn't really make a believable competitor for Rhadames' affections. There are times when it's still clear why she owned this role both vocally and dramatically, such as the first scene of Act IV, but her earlier recording under Serafin with Gigli and Caniglia shows her to much better advantage. The Amonasro of Aldo Protti is curiously self-defeating, trying to be vocally impressive in all the wrong places at the expense of dramatic truth. Fernando Corena, never less than first-class, does a great job in every way as the King, surprising in view of his mastery of comic roles and the dominant part they played in his career. Dario Caselli as Ramfis is vocally wobbly and suggests little of the menace inherant in his character. Finally, Piero de Palma, one of the premier comprimarios of the last century, gives what I believe was his first recorded try as the Messenger, and pulls it off very well.
Even in this pre-stereo era, the producers are able to suggest depth and distance in the sound, approximating as much as a possible a credible stage picture. But on the whole, this is not the best performance available. It would make a good supplemental recording, and is especially valuable for the insight it provides into Tebaldi's artistic development. This is one for the more seasoned opera fan and not for the newly initiated.
8 of 8 people found the following review helpful
Thoroughly enjoyable 19 Nov. 2007
By Ralph Moore - Published on Amazon.com
Format: Audio CD
While I agree with much that William Clegg said in his review back in 2000, I think his overall assessment is much too harsh. No it's not the best "Aida" available - perhaps the Muti or one of the Leontyne Price recordings fits that description - but it's surprising, considering I can choose from nine different recordings in my collection, how often I pull down this one. It's opera of the old Italian school and its shortcomings - mono (but still quite spacious) sound and some rough orchestra ensemble - are negligible compared with its glories. Tebaldi is here much more secure than in the later Karajan recording, del Monaco is in clarion voice and not wholly without subtlety, pace his detractors, Stignani is still, to my ears, a tower of strength and I certainly do not agree with Mr Clegg's verdict on Caselli; I find his voice rich, robust and more than adequate; rather it's Corena who sounds a bit rocky to me, in fact. Protti may not be the greatest of post-war Verdi baritones but he seems to me to be on top of his role and I think he embodies the irascible, percussive Amonasro well while still occasionally mustering sufficient vocal smoothness in the more lyrical passages; his confrontation with Aida in Act Three is very effective. If you're unsure, try to listen to an extract from that duet and I think you'll be convinced. We'd queue round the block to hear an "Aida" this well cast today. At this price - especially in the Marketplace section; as little as about $8 delivered - what more do you want? This is the companion piece to the Erede "Otello", equally under-estimated (see my review) but this time in stereo. One could do a good deal worse than invest so few dollars in each and get to know two great operas performed in the Grand Tradition.
8 of 8 people found the following review helpful
A fine performance 9 Mar. 2010
By Robert T. Martin - Published on Amazon.com
Format: Audio CD
This 1952 performance is very satisfying. Tebaldi is glorious and Del Monaco, while unsubtle at times, is heroic and a very believable Radames. The rest of the cast is solid (reviewers Clegg and Moore provide admirable detail). Erede's conducting is neither particularly insightful nor energetic yet he finds a steady pace that might be a bit slow but doesn't drag and he provides plenty of punch in the crowd scenes and drama when the singers call for it. This is clearly a singers' show that the conductor doesn't intrude upon but rather complements. I'm usually bothered by operatic conducting that doesn't exhibit a strong personality but here Maestro Erede's contribution, in a performance in which the singers do much of the heavy lifting, works well. The sound is much better than average early 50's mono.
1 of 1 people found the following review helpful
Remastering Problems 13 May 2012
By Amnerees - Published on Amazon.com
Format: Audio CD
The other reviewers have dealt fairly with the singers in this recording, but Decca's digital remastering is not one of their best. In the original ffrr monaural disk format, the sound was extraordinary (for the time). Particularly impressive were the transient sounds and the sense of space in the big scenes. The clear sounds of the cymbal and other percussion instruments were realistic and clear in a way that recordings released by EMI (Angel), RCA Victor, Columbia, etc. did not equal at the time. In Act I, Scene 2, the distant offstage soprano and chorus were captured with a sense of depth and space that has not been surpassed in any subsequent recordings, stereo or whatever. That is the only scene in which Caselli sings with any authority, and del Monaco is also at his best here. The CD version really perverts this sound: the percussion and higher strings are loud and strident, and the analog version was kinder to Tebaldi's negotiation of her already touch-and-go high notes. One problem that was present in the original release has not been solved: Stignani was over-miked, and many of her high notes are blasts. (This presents a tracking problem with the original vinyl disks for any but the highest quality pickups.) Also, she sounds even older here than she did in the original release. Act II, Scene 1 is an exception. Her "Ah vieni ..." moments in the opening ensemble are sensuous and beautiful. It's hard to believe she was still singing this role as late as 1957, five years after this performance, but maybe she sounded better in the opera house. Erede does a traditional and occasionally sloppy job of conducting. (Those beautifully recorded percussionists sometimes lag behind the beat.) On the other hand, he avoids show-off moments, such as an excessive accelerando at the end of the "Su del Nilo" ensemble in Act I, Scene 1 that both Solti and Muti indulge in, rushing the end of this really grand chorus unnecessarily.
Glorious singers, not so great conducting 16 Aug. 2012
By Maria de Madrid - Published on Amazon.com
Format: Audio CD
This recording of Aida is perhaps not the best available, but captures Tebaldi and Del Monaco at their prime. They sound glorious here. And lets not forget the great Ebe Stignani. Besides that, it's not an expensive set, so if you can manage without stereo sound this is not a bad option to know Verdi's masterpiece. My problem here is Erede. It's not about his tempi. It's about his lack of any depth and personality. Personally and even with great singers I cannot fully enjoy a recording or a performance with a sloppy conductor.
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