Verdi's Epic Opera: AIDA

So many of you know i'm a HUGE fan of EJ & TR's AIDA (the pop-opera). Well, the original opera is coming to Philly next month and i'm planning to check it out. Just curious as to whether anyone has actually seen the original opera. If so, how was it?

I saw "Aida" in Italy a few years ago in Verona, and it was incredible...I also had seen the Broadway show prior. You might want to consider picking up a cd with libretto before to familiarize some of the music, or rent a dvd (they do have then on Netflix). I think you will enjoy it.

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Updated On: 1/11/05 at 11:16 AM

CRP

The Aida that you are referring to is being done by the Opera Company of Philadelphia which is one of the resident companies of the Academy of Music. This is not a touring production, therfore it is not "coming" to Philadelphia but being produced here and only here.

That being said, I don't think you will be disappointed with the production. I have seen the design plans yet but I wouldn't expect too much in terms of set (I can guarantee no elephants, horses or other livestock for sure!). OCP has been plagued as many opera companies have after 9/11 with fiscal problems, so the physical production may leave a lot to be desired. But musically, this should be first rate. There will be 76 AGMA choristers (of which I am one), 25 in the corps de ballet and 45 supers. Corrado Rovaris is conducting and he is a fantastic musician. The biggest coup is the Aida herself; Angela Brown. She just made her MET debut in the role and landed a cover story on the front page of the Arts section of the NYTimes afterwards. She is a Philadelphia favorite and is poised to be the next "big thing" in opera. I've known Angela for 12 years and can promise you she alone will be worth the experience (although Barbara Dever as Amneris and Gregg Baker as Amonasro are nothing to sneeze at!). Get your tickets now though! There are only 6 performances and I know 6 weeks ago when they went on sale I had a hard time getting two tickets together for my parents. There is talk of adding a 7th performance but the Board won't announce that till next week. As soon as I hear I can let you know if you're interested!

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Typically, I am not a big fan of Grand Opera, but in the case of AIDA, I love it. I think you should take the suggestions of the others and go pick up a recording. Check out your local library. If you live in a big city, they may have a recording of it. There are days I crave to listen to my recording with Callas at the helm, because she was truly something amazing and unique, and her AIDA is glorious. It's a great work. I am sure you will enjoy it. It is truly beautiful, and one of the ABC's, but I prefer the M & W (Mozart & Wagner) over the ABC's :)

Maybe this will get you into opera. It's a wonderful world.

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For me, AIDA will always be Leontyne Price.

I too love me some Leontyne, but I prefer Callas. She had such a unique voice and the level of her characterization was unrivaled. Truly something special. I also love the other golden girl from that era - Renata Tebaldi!

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Ms. Price was indeed the Aida of a generation (if not several). I will never forget being fortunate enough to be at her Tower Records signing back in '96. They were playing her "O Patria Mia" in the store and she entered, singing along with herself, right on the phrase with that High C. To be within 6 feet of that sound was extraordinary.
Martina Arroyo was probably my second favorite - I have fond memories of she and Grace Bumbry at MET in 1985.
But mark my words... Angela Brown will be the Aida people will remember for this generation and next.

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I can't resist. I have this great 4-disc set with interviews (her and other big names) and lots of singing samples, which is really interesting. In one part, she talks about the famous Rome Walkout. I may get a couple of the name (San Pauli) wrong, but her words are right and it's so funny. She says (in this totally spit-fire way):

"I said to San Pauli, 'look Guido, cause I knew him for ages.' I said, 'Look Guido, tomorrow night is a performance and it's an opening night, and I'm not well. Now if I get sick, who is my double?' 'Noboby can double Callas.' 'Alright, then if I get sick and cannot continue, then you take responsibility. I was sick. I could not continue, because if I was well I would have continued and I would spit in the faces of my enemies, cause I, I don't like. And if I am attacked, I must defend myself. If I can my my enemies on, I will not kill them, but if I can make them go on their knees in front of me, I can, I will, and I must!'"

BRILLIANT TIRADE and when she said "If I was well I would have continued" the Tigress reared her beautiful head! LOVE HER!

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Updated On: 1/11/05 at 03:10 PM

Margo - just to be contrary, I'll take Sutherland's Lucia

No, Sutherland was all notes and no interpretation (and no diction -- lord knows what language that woman was singing in half the time). The live 1955 Berlin Lucia recording of Callas' may be the single greatest operatic performance I've ever heard. The Mad Scene is a masterpiece -- Callas "hollows out" her tone, has virtually no vibrato and sounds dead inside -- downright spooky, especially when coupled with von Karajan's insanely slow, methodical tempi (with sudden explosions of sound fff, whenever Lucia is seeing ghosts). Callas sings with a "sob" in her voice, sounding crushed and utterly devastated -- her control is remarkable, with each phrase and syllable stunningly brought to life dramatically (just listening, you fell you can "see" Lucia's pain).

I'm sorry, in contrast Sutherland is all about doing her vocal warmups and singing a lot of pretty scales and high notes, but she might as well toss out the libretto and sing "la, la, la, la, la" instead of the words for all the nuance and interpretation she brings to them. It's technically perfect, of course, but there's no character there. You don't hear the pain or heartbreak or regret -- just cascade after cascade of notes, each phrase dramatically the same as the next, completely unvaried emotionally as Lucia goes through a multitude of emotions over the course of the 17 minute scene. With Callas, though, it's a riveting tour de force.

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Updated On: 1/11/05 at 03:37 PM

Okay - you guys are losing me. LoL!
Seriously, Thanks A Million for the advice and info...now I'm even more psyched about seeing this show!

I agree completely with Margo re: Sutherland and the '55 Berlin Lucia! I cringe instantly when I hear someone say they prefer Sutherland's Norma to that of Callas! Anyway, although I love Sutherland's Donna Anna, she does have horrible diction, and that's a well known fact in the opera world. That Callas performance, from '55, is incredible. I loved your description of her voice Margo - dead on!

Callas once said Tebaldi had "the voice of an angel." Of course, another time, she said comparing the two of them was like comparing champagne to coca-cola. I imagine you can figure out whom Callas thought was the coca-cola! :)

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Actually it was Toscanini, not Callas, who said that Tebaldi had the "voice of an angel" and even that has been slightly misrepresented through history. Toscanini hired Tebaldi to sing at the re-opening of LaScala which was severly damaged during World War II. She sang the soprano solos in the Verdi "TeDeum". During the dress rehearsal as she sang her part from the balcony box, Toscanini stopped to remark "Ecco la voce d'angelo" and then anecdote was born. I don't think anyone would take issue with that assessment however.

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