# aida



## ldiat (Jan 27, 2016)

doesn't AIDA have a overture? last nights performance didnt have one and how long does the "victory dance" last? of course the free one was from locals production. but full orchestra. ( i talked to the first violinist!) thanks A Picture of the score! ok not great i was scared to closer
i snaped a selfie w/ a actress.......


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## Pugg (Aug 8, 2014)

It has a short prelude, with themes returning in the opera.


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## ldiat (Jan 27, 2016)

Pugg said:


> It has a short prelude, with themes returning in the opera.


i thought so must have been pressed for time.........do you want to view my selfie????


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## Pugg (Aug 8, 2014)

ldiat said:


> i thought so must have been pressed for time.........do you want to view my selfie????


I did presumed you are on the right, must be wrong then.


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## Woodduck (Mar 17, 2014)

Verdi wrote an overture for _Aida_ but decided against using it. It is never played as part of the opera today. Here it is:






Had Verdi retained it I would like the opera even less than I do.


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## Tuoksu (Sep 3, 2015)

Woodduck said:


> Verdi wrote an overture for _Aida_ but decided against using it. It is never played as part of the opera today. Here it is:
> 
> 
> 
> ...


This sounds more like Wagner :lol:


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## Woodduck (Mar 17, 2014)

Tuoksu said:


> This sounds more like Wagner :lol:


Does it really? ...........


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## Tuoksu (Sep 3, 2015)

Woodduck said:


> Does it really? ...........


joke :lol: :angel:


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## nina foresti (Mar 11, 2014)

Hoping to avoid brickbats from y'all, I shall step out and say that I actually like this overture better than the original one.
I have never been an Aida-ite but always liked the beginning overture. 
Ah well, what do I know?


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## Pugg (Aug 8, 2014)

nina foresti said:


> Hoping to avoid brickbats from y'all, I shall step out and say that I actually like this overture better than the original one.
> I have never been an Aida-ite but always liked the beginning overture.
> Ah well, what do I know?


Do not sell yourself short Nina.


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## nina foresti (Mar 11, 2014)

Which brings to mind how many well known operas have little to no preludes.
_Don Carlo_ if you start with the Fontainebleau scene and _Otello_ come to mind.


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## nina foresti (Mar 11, 2014)

Thanks Pugg for your vote of confidence. I sure can use some these days.


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## Granate (Jun 25, 2016)

I've lived this already!


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## SixFootScowl (Oct 17, 2011)

I saw Aida back in the 1980s (pre surtitles) and all I remember is the triumphal march. Seems there was an elephant but maybe not. It may have been the MET because they did tour Detroit back in those days. Anyways, I was at the library last Saturday and thought to look up Wagner's Ring and they only had kid books so when I was in the stacks there was this book on Aida as told by Leontyne Price. I like Price so grabbed it to see what this Aida is all about. Kind of another Romeo and Julietish story and so I bought the Leinsdorf CD with Price (everyone here raves about the Solti set with Price, but I never hear about the Leinsdorf set, yet it is well rated on Amazon anyway). I have yet to listen as it is in the mail. Probably need a DVD too.


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## Tsaraslondon (Nov 7, 2013)

Fritz Kobus said:


> everyone here raves about the Solti set with Price


Not everyone. I find Solti's conducting hard driven, over emphatic, loud and unrelenting, and I don't share the general enthusiasm for Rita Gorr's matronly Amneris, though I do enjoy both Price's and Vickers's contributions.

For a studio set, I'd go with the new Pappano, Karajan II, the one with Freni, Carreras, Baltsa (my favourite Amneris) and Cappuccilli, Muti, or the old Serafin with Callas, Barbieri, Tucker and Gobbi (the most thrilling Nile scene on disc).


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## Rogerx (Apr 27, 2018)

Fritz Kobus said:


> I saw Aida back in the 1980s (pre surtitles) and all I remember is the triumphal march. Seems there was an elephant but maybe not. It may have been the MET because they did tour Detroit back in those days. Anyways, I was at the library last Saturday and thought to look up Wagner's Ring and they only had kid books so when I was in the stacks there was this book on Aida as told by Leontyne Price. I like Price so grabbed it to see what this Aida is all about. Kind of another Romeo and Julietish story and so I bought the Leinsdorf CD with Price (everyone here raves about the Solti set with Price, but I never hear about the Leinsdorf set, yet it is well rated on Amazon anyway). I have yet to listen as it is in the mail. Probably need a DVD too.


I would say, go for the Solti set, it's stupendous sung, glorious conducted and sublime recorded.


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## DavidA (Dec 14, 2012)

I go for the old Karajan set of Aida with Tebaldi and Bergonzi. The voices are right and the VPO produces some miraculous sounds aided by Culshaw's (then) revolutionary recording techniques. There is also the Solti for Price and Vickers (not Solti) and the Serafin for Callas and Gobbi though I don't care much for Tucker. I did listen to the new Pappano - well conducted but thought the Aida underpowered and strained in places - she was unfamiliar with the role and it shows - and Kauffmann far too baritonal


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## Tsaraslondon (Nov 7, 2013)

DavidA said:


> I go for the old Karajan set of Aida with Tebaldi and Bergonzi. The voices are right and the VPO produces some miraculous sounds aided by Culshaw's (then) revolutionary recording techniques. There is also the Solti for Price and Vickers (not Solti) and the Serafin for Callas and Gobbi though I don't care much for Tucker. I did listen to the new Pappano - well conducted but thought the Aida underpowered and strained in places - she was unfamiliar with the role and it shows - and Kauffmann far too baritonal


I agree that Harteros is a bit underpowered on the Pappano (Karajan II's Freni, who has a similarly lyric voice, is much better at adapting her resources to the role). I don't much like Semenchuk's Amneris either, but I think Kaufmann's Radames one of the best on disc, and he is one of the few who can sing a truly _pianissimo _ top Bb at the end of _Celeste Aida_, as Verdi requests. I also think it one of the best conducted sets out there, and the sound is excellent.


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## DavidA (Dec 14, 2012)

GregMitchell said:


> I agree that Harteros is a bit underpowered on the Pappano (Karajan II's Freni, who has a similarly lyric voice, is much better at adapting her resources to the role). I don't much like Semenchuk's Amneris either, but I think *Kaufmann's Radames one of the best on disc,* and he is one of the few who can sing a truly _pianissimo _ top Bb at the end of _Celeste Aida_, as Verdi requests. I also think it one of the best conducted sets out there, and the sound is excellent.


I am admirer of Kaufmann but here the voice seems to wooly and base heavy. Maybe the sound system I was listening on but I felt he couldn't hold a candle to Bergonzi or (in a very different way) Vickers


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## Woodduck (Mar 17, 2014)

Does anyone know the older Tebaldi Aida with Stignani and Del Monaco under Erede? Not a bad lineup on paper.


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## silentio (Nov 10, 2014)

Woodduck said:


> Does anyone know the older Tebaldi Aida with Stignani and Del Monaco under Erede? Not a bad lineup on paper.


That one is my favorite. Tebaldi sounds younger, fresher, and less strained on high notes. Monaco and Stignani are great there. I don't think Erede is as bad as people usually dismiss him.

However, I think Tebaldi's very best performance of the role was the soundtrack she did for Sophie Loren's movie. There the voice is even more ethereal and expressive. Check out the pianissimo at 4: 18! How can such a large voice, almost Wagnerian in size, can create that floating pianissimo! Campora is a nice surprise as Radames.






Sadly they never record it in complete version or release it in audio.


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## Rogerx (Apr 27, 2018)

> I go for the old Karajan set of Aida with Tebaldi and Bergonzi. The voices are right and the VPO produces some miraculous sounds aided by Culshaw's (then) revolutionary recording techniques.


That would be my equal number one, second place Muti, his cast is also stunning, specially Cossoto.


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## Sloe (May 9, 2014)

silentio said:


> That one is my favorite. Tebaldi sounds younger, fresher, and less strained on high notes. Monaco and Stignani are great there. I don't think Erede is as bad as people usually dismiss him.
> 
> However, I think Tebaldi's very best performance of the role was the soundtrack she did for Sophie Loren's movie. There the voice is even more ethereal and expressive. Check out the pianissimo at 4: 18! How can such a large voice, almost Wagnerian in size, can create that floating pianissimo! Campora is a nice surprise as Radames.
> 
> ...


And Ebe Stignani signs Amneris that is played by Miss Moneypenny:


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