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Disc 1:

1. Preludio
2. Act 1. Scene 1.: 'Sì: corre voce che l'Etiope ardisca'
3. Act 1. Scene 1.: 'Se quel guerrier io fossi!... Celeste Aida'
4. Act 1. Scene 1.: 'Quale insolito gioia nel tuo sguardo'
5. Act 1. Scene 1.: 'Vieni, o diletta, appressati'
6. Act 1. Scene 1.: 'Alta cagion v'aduna'
7. Act 1. Scene 1.: 'Su! del Nilo al sacro lido'
8. Act 1. Scene 1.: 'Ritorna vincitor!'
9. Act 1. Scene 2.: 'Possente Fthà... Tu che dal nulla'
10. Act 1. Scene 2.: 'Immenso Fthà!...'
11. Act 1. Scene 2.: 'Nume, custode e vindice'

Disc 2:

1. Act 2. Scene 1.: 'Chi mai fra gl'inni e i plausi'
2. Act 2. Scene 1.: 'Vieni: sul crin ti piovano'
3. Act 2. Scene 1.: 'Fu la sorte dell'armi a' tuoi funesta'
4. Act 2. Scene 1.: 'Pietà ti prenda nel mio dolor...'
5. Act 2. Scene 2.: 'Gloria all'Egitto, ad Iside'
6. Act 2. Scene 2.: Triumphal March
7. Act 2. Scene 2.: Ballet
8. Act 2. Scene 2.: 'Vieni, o guerriero vindice'
9. Act 2. Scene 2.: 'Salvator della partria'
10. Act 2. Scene 2.: 'Che veggo! Egli? Mio padre!... Anch'io pugnai'
11. Act 2. Scene 2.: 'Il dolor che in quel volto favella...Ma tu, o Re'
12. Act 2. Scene 2.: 'O Re: pei sacri Numi... Gloria all' Egitto'

Disc 3:

1. Act 3.: 'O tu che sei d'Osiride...'
2. Act 3.: 'Qui Radamès verrà! ..... O patria mia'
3. Act 3.: 'Ciel! mio padre!... Rivedrai le foreste imbalsamate'
4. Act 3.: 'Pur ti riveggo, mia dolce Aida... Nel fiero anelito'
5. Act 3.: 'Fuggiam gli ardori inospiti... Là, tra foreste vergini'
6. Act 3.: 'Ma dimmi; per qual via'
7. Act 4. Scene 1.: 'L'aborrita rivale a me sfuggia'
8. Act 4. Scene 1.: 'Già i Sacerdoti adunansi'
9. Act 4. Scene 1.: 'Ohimè! morir mi sento!... Spirto del nume'
10. Act 4. Scene 1.: 'A lui vivo la tomba... Sacerdoti: compiste un delitto!'
11. Act 4. Scene 2.: 'La fatal pietra sovra me si chiuse'
12. Act 4. Scene 2.: 'Immenso Fthà... O terra, addio'

Rating: - A major disappointment from Abbado
Claudio Abbado, who I believe was head of La Scala when this Aida was made, is capable of exciting Verdi readings, but this isn't one. I don't know if he was trying to make the score sound less like a warhorse by smoothing it out and reducing the melodrama, but Aida isn't a warhorse: it's a masterpiece. His staid tempos and underpowered climaxes frustrated me from beginning ot end.

Not the their is any huge losss when it comes to the singing. Domingo was much more powerful in hhis two other studio recordings opposite Leontyne Price for RCA and Monserratt Caballe for EMI. Here he seems to have been subdued by Abbado's understated interpreatation. As Aida, Katia Ricciarelli is severely over-parted. She was a fill-in during a time when no credible dramatic sopranos were at ahdn, and therefore she landed roles like Tosca, Turandot, and this Aida that even close placement of the microphone can't boost enough. Her tone wobbles severely in climaxes, although I must admit that she tries to inject some dramatic fervor into her phrasing.

By contrast, Obrazova chews up the scenery as Amneris and has a clotted Slavic vocal tone that doesn't suit Verdi. The orhcestra nad chorus sound less than enthusiastic. In sum, a big disappointment and one of the least convincing Aidas ever to emerge from a major label.

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Rating: - So Many Aidas So Little Time
Aida is the very definition of "Grand Opera". I have noted how many recordings of it there in stores and on Amazon.com. It can be overwhelming sometimes. But if you are seeking for the perfect or the best Aida, thats all a matter of personal choice. Each Aida has its special aspect, something in the conductor's style or the orchestra, the lead tenor-soprano magnetism, the performance of the mezzo as Amneris, the chorus, always something to enjoy. With this recording, we get some fine singing from Domingo and Ricciareli. Of the two, Domingo was the more experienced Verdi singer. His discipline and artistic integrity as an an actor of the opera enabled him to sing Radames, a role which is testaterone-driven, heavily sung, masterful and top-notch tenor stuff. Domingo is an elegant singer and like Corelli loved to challenge himself. Calaf and Radames were roles which required him to push his voice for darker and more thunderous effect, as is most notably Otello. As Radames he is doing a glorious performance, and this recording is his best Radames of his later period. His first is the one he recorded opposite Leontyne Price on the RCA Label. Domingo and Price actually are the greatest interpretors of Aida and Radames. That one by far takes the crown for the best. But this one is nothing to laugh at. Ricciarelli is a fine singer, with dramatic integrity. She is, for me, an example of a high, lyric voice (not really as dramatic or spinto as the big Kahunas of soprano territory- Callas, Leontyne Price, Tebaldi, Birgit Nilsson, Montserrat Caballe)..she does have a lighter, smaller voice than them. But Beverly Sills did too and she had an incredible and successful career which extended after retirement to managing opera. So Ricciarelli is a truly gifted singer taking on a role that could have damaged her voice but did not. She also sang Tosca to great acclaim. And Turandot. She is more like Carol Vanness in this manner. The fire is not so much in the voice but in the hint of it. As Aida she is amazing. Mirella Freni, too, a lighter lyric voice, recorded a successful Aida.

Listen Ricciarelli sing "O Terra Adio" and "O Patria Mia". It is moments like those that make her a fine choice for Aida no matter what the critics say. Abbado, full-blooded Italian man, knows Verdi to a "t" and so his conducting of this opera is the most Italian we'll ever find. But still..look for other Aidas to make a judgement for yourself and it all boils down to personal choice. What sound do you like ? Leontyne Price: dramatic, dark, husky, smoky, brilliant high top, spiritual, African - as far as we know she IS Aida "my costume for Aida was my skin" said Price. Do you like Mirella Freni whose more Italianate, softer, more feminine, delicate but transcendent voice makes Aida appear like a kind of mythic princess of fable (same with Ricciarelli) or Caballe and Tebaldi, both supremely big voices, classically trained, rich and "clean" sounds or the eternally loved Maria Callas. Always Callas. Her Aida is dark, intense, primal, and she's not afraid of sounding ugly to get dramatic effect.

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Rating: - This includes the famous brass -and more
OK, I confess... I am an great admirer of Abbado and that is because he do mostly everything very professional but not "dull".

You have always "new" interprets and more "steady" ones. This is a "staedy" one and thats not easy do that (sometimes I wonder if "new", radical versions depends on that the conductor cant read notes?:-)

Anyway... I own the famous version from Muti (EMI) too and I like this one even better. Singing here is at nearly same level... (Caballe is good at Mutis version but so is Ricciarelli here)and at least is Domingo very good here again BUT music is def. better on this version in my opinion.

And something about music that IS importent in Aida are of course the brass in the triumph-march. Brass at Mutis version sounds like a scared kitten compared to this even if it is well played too otherwise but you miss essential Aida/Verdi without the famous brass sound.

This is an old, so called "to crystal claer CD" (it is not remastred), but sound is VERY good but I suggest DG remaster it anyway and put it on two discs instead on three and fix price but it is DEF: worth its full price if they dont so buy it if it goes out of print.

Enjoy.

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Rating: - Muy buena, pero...
Esta versión de una de las más hermosas Operas que se hubieran compuesto, nos gusta sobre todo por el excelente trabajo de los solistas, todos están de primera, el bemol de la interpretación es que la orquesta y el coro no está a la misma altura de los solistas. Abbado no aprovecha todo el gran potencial que la partitura da a la orquesta y al coro.

El resultado satisface, pero hay versiones mejores que tienen TODO.

Versiones 5 estrellas: Muti (EMI), Karajan (EMI y DECCA), Toscanini (RCA), Solti (DECCA).

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Rating: - Flawed, but a Jewel Just the Same
Deutsche Grammophone's 1981 La Scala AIDA was one of the first digital recordings of Verdi's masterpiece. Led by Claudio Abbado, then reigning at Italy's premier opera house, it is a beautifully dramatic reading, proportionately well paced and, for the most part, well sung. At full price, it's hard to recommend it as a first choice, but anyone interested in this opera won't want to be without it.

In the men's and comprimario departments there isn't a weak link to be found. Domingo gives his best recorded account of Rhadames, with finer detail than in his previous outings with Leinsdorf and Muti but losing nothing of the power, molten tone and security he'd already displayed in the role. As for Leo Nucci, he isn't the best Amonasro I've heard, but there's nothing in his performance to complain about and much to admire. The Ramfis of Niccolai Ghiaurov has aged well and it's acutally this aging that gives his performance the edge over other recorded High Priests. It's the best version of the role to be found. Ruggero Raimondi's warm voice and commanding presence make a regal king of Egypt and it's a luxury to have him in a role usually reserved for less-distinguished singers. As for the smaller roles, Piero de Palma, always excellent, gives what would be his last recorded Messenger and Lucia Valentini-Terrani contributes an ethereal High Priestess.

It's the vocal performances of the two leading ladies that are this jewel's flaw. Katia Ricciarelli possessed a golden voice, good looks,and the ability to project the drama through the text. Her vocal technique on the other hand was less than masterful. One gets the sense that someone saw her potential, wanted to be the one who could claim discovery, and therefore she was put before the public prematurely, a kind of exploitation that became highly visible in the 1970's and 80's as star singers became older or retired with no one to replace them. There are many moments in this particular recording that Ricciarelli is reminiscent of Montserrat Caballe, though she is minus Caballe's vocal freedom. Ricciarelli almost cruelly pushes her voice and many high notes come out as desperate, pressured squalls, especially when a fortissimo is required. On the positive side, in the middle and lower registers, Ricciarelli's singing is tender and delicate, creating a believably vulnerable Aida, and her way of putting just the right emphasis on key words makes one ache for what might have been had this artist been allowed to develop in her own time.

For her part, mezzo-soprano Elena Obraztsova's Amneris has no problems cutting through the orchestra with her powerful, vinegary tone, although her method of vocal production gives her a disagreeably wide vibrato that at times obscures the pitch. There's nothing to carp about in her overtly dramatic performance, though I personally prefer the likes of Verrett, Simionato, and Cossotto. In the end, all of this is really a matter of taste, so there are most likely those who would have no objections to Obraztsova's performance.

Finally, the sound quality is everything you'd expect from a digital recording, clear and accurate, if somewhat sterile and occasionally congested. The aural staging is effective, and the orchestra and chorus perform well under Abbado's able, inspired direction. In short, this really would have been an unbeatable performance had Ricciarelli and Obraztsova been stronger. As it is, there is much to enjoy here, and for those already acquainted with AIDA and looking for a fresh take on the opera, this is a good recording to acquire, though it would be even more irresistable at a lower price.