Verdi - Aida / Oren, Zajick, Theatre of San Carlo

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For many devotees of Aida, the size of a performance's production budget is the most important consideration. In this respect, the San Carlo Opera Company falls behind its chief video competitors, La Scala and the Metropolitan Opera, particularly in the lavish, half-hour triumphal scene in Act II. But in its more modest way, with only one singer (Dolora Zajick) who has a strong international reputation, it gives a good musical account of Verdi's score.

The costumes and choreography are undistinguished but adequate; the singers in the principal roles are visually less than ideal but more convincing than Pavarotti at La Scala and properly impassioned in the best Italian provincial style. The chorus and orchestra are capable and Daniel Oren keeps the music under firm control. With more splendor in the spectacular scenes, this could have been surprisingly competitive. As is, it's more likable than one might expect. --Joe McLellan

Description

Aida is a story of forbidden love between Egyptian leader Radames (appointed by the Supreme Priest Ramfis) and the beautiful Ethiopian princess Aida. Now captured, Aida serves as a slave to Amneris, the Pharaoh's daughter, who is also in love with Radames. When the Ethiopian enemies headed by King Amonasro (Aida's father) invade Egypt, Aida is faced with a dilemma--whom should she support: her father or her beloved Radames? Daniel Oren conducts the Orchestra and Chorus of the Theatre of San Carlo.

Customer Reviews:

Bleah!.......2005-01-17

A third rate production of a third rate opera. I only rented (thank god I had the foresight not to buy it) this opera because of all the rave reviews, most frequently performed opera in the world (I thought that was Carmen, which I also don't like), etc., I already knew I hated it. Didn't finish it, in the 30 or 45 minutes I watched, there was only one tune, Celeste Aida, weakly sung. The ballet at the idol was ridiculous. The direction was by the numbers. The aplause from the audience was as reluctant and meager as I felt listening. And the whole thing was saturated with the words "death" and "kill" and "war." Isn't there enough of that in the world without reveling in it in music! This was a far cry from music.

A Fine, Provincial Aida.......2002-12-18

It's always interesting to see how smaller, provincial theaters tackle such grand operas as AIDA. It's not that the Teatro San Carlo in Naples is a second-rate theater. In fact, it is quite possibly Italy's most well-known and respected theater, next to La Scala. Still, there's no question that San Carlo won't put on quite the spectacle that the MET would. And that is fortunate for the viewer!
There is nothing jaw-dropping about this production, but the sets and costumes are quite attractive and tastefully done. The cast manages to, quite successfully, get through the opera.
Fiorenza Cedolins is a fine soprano who copes very well with the difficult title role. With so many ugly-voiced, dramatic sopranos tackling this role these days, it was nice to hear an attractive, spinto voice sing it in the style of a Tebaldi or Gabriella Tucci. Furthermore, Cedolins in a decent actress.
As Amneris, American mezzo Dolora Zajick further confirms her status as the leading Verdian mezzo of the day. Her confrontation in the fourth act with Radamaes, and the subsequent judgemnet scene is a landmark in Verdi singing rarely heard these days.
Tenor Walter Fraccaro posseses a pleasant tenor voice that is, unfortunately, strained at times her. It is obvious that Radames is a role that is out of his league. Though he does have some fine moments of singing (particularly in the lyrical passages towards the end of the opera), Fraccaro misses the boat on Radames' big moments. Fraccaro would be terrific in Verdi works like UN BALLO IN MASCHERA or LA TRAVIATA, which requite a more lyrical voice. Some lighter Puccini (Boheme and Butterfly) would better suit him as well.
Vittorio Vitelli, as Aida's father, Amonasro, is a Verdi baritone int he old tradition. It's a big, powerhouse voice that projects well. Though not the most interesting actor, vocally, he is a standout.
Conductor Daniel Oren proves himself to be more than just a chubby, sweaty guy who likes bagels. He does a commendable job here.
All in all, I highly recommend this performance.

Glory on the Nile.......2002-06-24

This recording represents a 1999 production from Naples' Teatro San Carlo, and from this performance it is clear why Verdi's 1871 masterpiece is one of opera's most popular works. Conductor Daniel Oren keeps the tempos brisk, maintaining the dramatic tension but allowing the tender lyric moments to shine as they should; the orchestra plays the glorious score very well. The singing is uniformly excellent, with the women contributing the strongest performances. Fiorenza Cedolins is a name unfamiliar to me, but I certainly look forward to hearing more from her; she gives a complete performance of the title role. Her acting nicely portrays Aida's gentle frailty, and she skillfully controls her beautiful lyric-spinto soprano to display dynamics ranging from stirring fortissimo to melting pianissimo. The only big name in the cast is American mezzo Dolora Zajick, whose Amneris is also seen in the 1981 Metropolitan Opera production of the same opera, currently also avainable on DVD. Here she shows considerable growth in her portrayal, managing to emphasize Amneris' softer aspects as well as the imperious nature of the Egyptian princess. Her singing is rich and opulent, as we have come to expect from this excellent artist. The men are not quite up to the standard of the ladies, but all four are excellent. The staging is conventionally acceptable, but in some of the scenes the stage appears to get rather crowded. The Triumphal Scene is done as a parade through a narrow section in the center of the stage, definitely giving a cramped feeling. The sets and costumes are quite stunning, firmly conveying the setting of ancient Egypt, with many sumptuous details. There are a few awkward camera angles, but the singers are mercifully free of distracting mannerisms, both physical and vocal, even in closeup shots.The production engages a suitable degree of spectacle, but still manages to focus on the human drama of the love triangle between Aida, Radames and Amneris. All factors considered, this is a very satisfactory representation of this most beloved opera, and I highly recommend it to experienced operaphiles and interested novices alike.

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