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

Rating:
Summary: Bleah!
Review: 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.

Rating:
Summary: A Fine, Provincial Aida
Review: 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.

Rating:
Summary: Glory on the Nile
Review: 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.