Verdi: Aida (cond. Karjan, perf. Freni, Carreras, Balsta, Vienna Philharmonic)
Aida is one of opera’s three or four most popular works, and is easily Verdi’s most well known effort. I can’t quite figure out why.
Maybe it’s the through-composed nature of it. Verdi is almost Wagnerian here in his integration of melodic elements with narrative-driving recitative. Set pieces, be they arias or duets, are present, though they aren’t set apart as much as they usually are, even in Verdi, who did it less than his bel canto counterparts like Donizetti and Bellini. That still doesn’t quite explain this opera’s popularity, though, since I think audiences typically like the set-apart pieces that can be fit onto a “highlights” disc.
This Wagnerian situation is exacerbated on this recording, which exhibits bad track segmentation. There are several parts of the opera I wanted to keep on my DMP, but eventually didn’t because the pretty melody parts weren’t often separated from their relatively dull set-ups. This isn’t consciously reflected in my evaluation of this recording, but I wouldn’t be surprised if it subtly affected my judgment. This recording does sound magnificent, though, as it pushes my stereo to its limits. Stereo manufacturers should send out this CD free of charge, as it’s nearly got me headed to the nearest high-end audio store for a serious upgrade.
I’m also surprised by the opera’s popularity due to the non-prettiness of the set pieces that are there. They’re good, but they just don’t seem to embody pretty in the way audiences seem to prefer. Again, we see more harmonic experimentation, sublime melodies, and either repressed or downright distraught emotion á la Wagner. Wagner’s popular, but not in the same circles as Aida is, hence my surprise.
Maybe it’s the jingoism. There is no shortage of calls to war, displays of regal power, or triumphant war marches throughout these four acts, especially the first two. (If Verdi isn’t the composer of Italy’s national anthem, it’s a shame.) Nobody wrote for chorus as well as Verdi did, and he resorts to his favorite device often here. Normally bombastic fanfares of this sort, while initially grabbing, don’t hold up to repeated listens. Those of Aida are beyond tolerable, however, just sliding into the realm of enjoyable. In fact, the highlight of the entire opera is the war prepration that closes act one. Again, though, these pieces are not pretty, per se, and I never hear opera critics praising bold, orchestral proclamations of this sort, so Aida’s popularity is still a curiosity for me.
Maybe it’s the story, which is fairly unique, especially given that it is an opera. The dilemma of Aida, an Ethiopian slave of an Egyptian princess (Amneris), is that she and her mistress both love the commander of the Egyptian army (Radamés), who is at war with the king of Ethiopia (Amosasro), who is, of course, Aida’s fathe. Yes, it is contrived, but at least it’s unusual. Radamés loves Aida in return, but he also loves his country, of course, and the contradictoy nature of the characters’ motives provides endless material for extrapolation. It culminates in a wonderfully compelling final act where even the audience is left in the dark until the very end about what happens to our heroine, resolved in yet another original twist. The story is probably the best explanation for this opera’s popularity.
That and its consistency. The triumphal march and ballet are both surprisingly quite good, and even fairly well integrated into the story. Even while there’s not much to gush over, there’s also not much to harshly criticize. Aida is Verdi clearly influenced by his contemporary Wagner, and I think he makes the case for Wagner going full out in what he did. If you’re going to move to that style, you’d better be prepared to go all the way, even if you end up offending the delicate sensitivies of opera goers who want pretty. Otherwise it ends up as a bit of a mediocre effort. But then, I’m clearly in the minority on this one, so what do I know?
Rating:
Keepers: “Celeste Aida,” “Su! Del Nilo al sacro lido,” “Possente, possente Fthá,” “Nume, custode e vindice,” “Pietá ti prenda del mio dolor,” “Su! Del Nilo al sacro lido” (again), “Ballet,” “Vieni, o guerriero vindice,” “Il dolor che in quell volta favella,” “O patria mia,” “Rivedrai le foreste imbalsamate,” “Nel fiero anelito di nuova guerra,” “Fuggiam gli ardori inospiti…Lá, tra foreste vergini,” “A lui vivo, la tomba!,” “La fatal pietra sovra me si chiuse,” “O terra, addio”
Filed Between: Verdi’s Don Carlo (cond. Guilini, perf. Domingo, Caballé, Verrett, Milnes, Ambrosian Opera Chorus) and Otello (cond. Serafin, perf. Vickers, Rysanek, Gobbi, Rome Opera Orchestra and Chorus)
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