This epitome of bombastic, heroic, spectacular and larger-than-life theatrical circus has long been one of the biggest audience draws in the history of opera.
Although I was raised in a working class family that had no connections with classical music whatsoever, "Aida" was in fact the very first of my theatre experiences but the only thing I remember from that evening is that it was loud and I was bored.
Fast forward some 30 years forward and this is where I started seriously exploring and researching the world of classical music. It was Gluck, than voices, than instrumentalists that got my attention before I decided that in order to understand what is all the fuss about Callas and others, I might as well hear original recordings from pre-WW2 era and slowly make up my way to present time. Wrong - just as I enjoyed early 1920s blues and jazz recordings, I loved these early opera stars so much that for a long time I was stuck right there and perhaps in a way I still am. The very first "Aida" I purchased was 1946. recording conducted by great Tullio Serafin with Maria Caniglia in title role and golden-voiced Beniamino Gigli as Radames. I loved and cherished this recording for many years, loved beauty of Gigli's voice (to my ears far prettier than Caruso, if I might say so), poise of Caniglia and her stage opponent, wonderful Ebbe Stignani (Amneris) and it was trough this recording that I memorised some parts of Verdi's masterpiece.
Recently I purchased another "Aida" - curiously it was again conducted by same Tullio Serafin but some ten years later with Maria Callas and Tito Gobbi as lovers. As much as I love the music and naturally 1955. recording sounds much fresher and real than the old one, this time I am affected more with music than singers. Orchestration is lovely, sound much,much better and since I know the music, I can easily hum along. But - and this is purely subjective - Gobbi cannot replace Gigli in my memories and as for Callas, she had a particular, peculiar sound that I don't care much for. I know that she is considered a bench mark against many female singers and phenomenon that crossed into myth, however there is a "hollowness" in her tone that does not appeal to me, no matter how instantly recognisable it is.
Recently viewed 1989. live performance from Metropolitan opera was revelation because now for the first time I could connect music to a visual spectacle and what a spectacle it was! Conducted by James Levine and staged with mind-blowing scenography, hundreds of extras and even horses, this "Aida" was truly a show - Placido Domingo was excellent as expected but the biggest surprise was Met's darling Aprile Millo who as Aida showed excellent power of heroic voice mixed with exactly right tenderness of "pianissimo" that I had not heard from either Caniglia or Callas. Watching her Amneris, excellent Dolora Zajick I wondered who is the real heroine here, because her role has actually far more depth and characterisation than Aida - great acting as well.
Next time - my opinion about Italian 1953. movie with Sophia Loren singing "Aida" on Renata Tebaldi's voice. Clash of voices and tits!
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