Rating: 
Summary: Posing is not the Same as Acting
Review: Of course, in opera the voice has to be the first priority. Perhaps we have come too much today to expect the singers to look good, but the fact is that an opera is different from a concert- and in this production of Aida, the singers seem so far removed from anything approaching real characterization, contented to assume a series of stock opera poses. What a crime this is when Verdi's music is packed with emotion and depth. Not for a second did I believe that Aida and Radames were in love. Only in the final moments in the tomb does Chiara touch Pavorotti in the way a total stranger might comfort someone who has lost his dog. It's bad enough that she is costumed to look like Jasmine in Disney's "Aladdin" and coveys every bit as much depth as that ink and paint two-dimensional cartoon. Look at the photo on the cover- Pavorotti leaning over awkwardly, looking nothing but bored and Chiara assuming Soprano pose #4 "Wide Open Arms, Embracing Eternity". But far, far worse is the moment after "Patria mia" when she breaks character (such as it is) to acknowledge the applause- absolutely disgusting. I don't care that it's Scala or that there is some ridiculous romatic notion that divas are expected to exhibit such shamelessly self-indulgent behaviour. It is the absolute depth of unprofessionalism, uttlerly repulsive; and it shows what a meaningless, shallow performance that is unfortunately captured on this disk. As the young reviewer on this very page states- better to go with Price's farewell at the Met. She's no Meryl Streep, but she acts like she gives a ----.
Rating: 
Summary: opera
Review: only opera for example :aida , la traviata, la boheme
Rating: 
Summary: SIGH!
Review: Take out Pavarotti, and this is the worst Aida I've ever seen. The production is horrendous; during the Triumph March, all they do is push and shove around scenery. The ballet has an ENORMOUS CUT IN THE MIDDLE. there's even nudity in the previous scene. Dimitrova is possible the worst singer ever. She can call home without a telephone. her costume doesn't help much either. no wonder Radames hates Amneris so much! And why did they get Aida to dress up so formally to join Radames in the tomb? Her voice is better than Dimitrova's, but still is no L. Price. maazel's conducting is boring, lax, and weak. very uninteresting. subtitles are either late, or don't show at all. don't bother with this version. get the Met version with Domingo/Millo. THAT is Aida!
Rating: 
Summary: Out-Heroding Aida
Review: The singing was wonderful, but the staging ranged from distracting to hilarious. You like slaves? This production has them in abundance, cluttering up the action, groaning and moaning as they pull and push stones and monuments like a pack of crack-smoking ants. They were especially annoying in the triumphal scene, where the chorus could barely squeeze on stage, cowering in the background while the over-acting wretches took center stage. (Hey slaves! Triumphal celebration going on! Take five!) It was also kind of weird in Act I, Scene II, where the rocks just popped up out of the ground, noisly banged about, and occasionally formed,one assumes, significant shapes. Act II, Scene I was bizarre. First, there were topless women "bathing." Let me tell ya, topless women are always a distraction, except in a topless bar, and even there they distract. What was the point of them here? Second, while most ballets in this scene feature the usual gaggle of Egyptian girls "walking like an Egyptian," they changed it up a bit by having young boys--very young boys!--hopping about in thongs, while being whipped by some old dudes. (Speaking of pointless, don't miss the entrance of Radames in the Act II, Scene II, with the scantily clad young hunk standing over him, ready for action.) Finally, Herr Pavarotti was big enough; hanging curtains on him only added to the effect. (One could almost hear the slaves lamenting, "We can pull the sphinx across the stage, but not that tenor!") It is also noted that the once discriminating La Scala audience fell for this MTV approach like wrestling fans marking out to a Hulk Hogan pose down. All in all, an absurd and sterile desecration of Verdi's opera.
Rating:
Summary: Out-Heroding Aida
Review: The singing was wonderful, but the staging ranged from distracting to hilarious. You like slaves? This production has them in abundance, cluttering up the action, groaning and moaning as they pull and push stones and monuments like a pack of crack-smoking ants. They were especially annoying in the triumphal scene, where the chorus could barely squeeze on stage, cowering in the background while the over-acting wretches took center stage. (Hey slaves! Triumphal celebration going on! Take five!) It was also kind of weird in Act I, Scene II, where the rocks just popped up out of the ground, noisly banged about, and occasionally formed,one assumes, significant shapes. Act II, Scene I was bizarre. First, there were topless women "bathing." Let me tell ya, topless women are always a distraction, except in a topless bar, and even there they distract. What was the point of them here? Second, while most ballets in this scene feature the usual gaggle of Egyptian girls "walking like an Egyptian," they changed it up a bit by having young boys--very young boys!--hopping about in thongs, while being whipped by some old dudes. (Speaking of pointless, don't miss the entrance of Radames in the Act II, Scene II, with the scantily clad young hunk standing over him, ready for action.) Finally, Herr Pavarotti was big enough; hanging curtains on him only added to the effect. (One could almost hear the slaves lamenting, "We can pull the sphinx across the stage, but not that tenor!") It is also noted that the once discriminating La Scala audience fell for this MTV approach like wrestling fans marking out to a Hulk Hogan pose down. All in all, an absurd and sterile desecration of Verdi's opera.
Rating:
Summary: Fabulous but it has its problems
Review: This is a fabulous opera. It is nothing compared to the Broadway production. Despite Luciano Pavarotti's weight, he has an amazing voice and is perfect for the role of Radames. Maria Chiara makes a wonderful Aida. Ghena Dimitrova is a fabulous Amneris. I just wish they mentioned her character by name. The sets are amazing. I think it is amazing how they managed to fit the exterior of the Temple of Vulcan beneath the stage. I think one of the pillars looked like Louis Armstrong. Watch for that pillar. The guy who plays Amonasro looked so convincing, you would have thought he was actually African American. Mind you, this was the first time I saw that guy. I've heard that he's really white. Even though I give it 5 stars, I have three complaints. One is major and two are minor. The major one is the first scene of Act II. It's Nudist City in that scene. There are naked women exposing their you-know-whats in front of millions of opera patrons. To make matters worse, one minute you're getting over the shock of naked women, suddenly, the Moorish Slave Dance starts up and naked kids run on stage. Some may have been wearing jewelry that covers up their middle areas but their tushies are still exposed. It is a crime for women and children to expose themselves in public. My three minor complaints are the subtitles that go ok at the beginning of the opera but get quirky after Ramfis exits. They either show up, show up too late, or don't show up at all. My second minor complaint is the outfit that Aida wore in her final scene. Why did she get dressed up just to die with Radames. Did she want to look beautiful when archaeologists found the tomb. She and the mothers of the Moorish children should have protested about the costumes. It's too late now but still, that bawdy headdress looked too vibrant for a tomb. My final complaint (and this one is pretty minor) is that during the curtain calls at the end of the show, there was a shot of a balcony but a house light got in the way making room for the DVD's only moment of poor filming.
Rating:
Summary: Pavarotti and Chiara in CONCERT!
Review: This is an incredible Aida for Luciano Pavarotti. I have never heard him in such a good voice for a dramatic tenor role. But please cut off the video and just hear him otherwise you will be extremely disappointed by this DVD. The acting is so so bad (by everyone). Pavarotti having his knee problem never moved on stage. Chiara's acting is even worse. Dimitrova has an ugly voice. The best amneris I ever heard was Ghorr in the Solti, Vickers , Price recording. OVerall....NOT recommended...the MET production with Domingo, millo is excellent!
Rating:
Summary: Very good!!
Review: This performance of "Aida", despite from other reviews say, has a great production, The scenario is Wonderfull.
Chiara is a great performer of Aida, with that dark powerfull voice of dramatic soprano, her acting isn't great but is better than Pavarotti's or (most of all) Dirmitrova. I never seen a woman moove so little on stage. But the worst of all is the ballet in the triunfal march ¡¡there isn't any ballet!!.
Vocally I find this performance great, but in matters of acting isn't that good.
The Orchestra is perefctly displayed here, Maazel does a great job.
I would rate with 5 stars If I would be thinking in the voices and the orchestra but If I had to rate acting I would put 2 stars. I keep with 3 stars
Rating:
Summary: A glorious high school production
Review: This production of Aida should, unlike small children, be heard but not seen. One imagines that, having paid for Mr. Pavorotti, La Scala had insufficient funds for sets and costumes. The triumphal march was a travesty. Glorious singing indeed, but I already have a wonderful CD; I was hoping for a fine, or at least good performance. Not here.
Rating:
Summary: GOOD PERFORMANCES, BUT POOR PRODUCTION
Review: This video brings some very good voices. Pavarotti is not exactly the best Radames ever, but his performance is no less than good. The problem is the production itself. The scenery has no charm, the triumphal march is NO triumpahl march, and the ballet scenes are just dreadful. All production is very amateur and it is amazing that such an important theater like the La Scalla was not able to bring us anything better than this. I do NOT recommend it to anyone, even if you are a great Aida fan.
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