Verdi: Aida
April 2008 Reviewed by: Rad Bennett Format: DVD	(all ratings out of 5): Overall Enjoyment Picture Quality Packaged Extras Sound Quality

Considering its large cast and exotic setting, this is one of the operas that underscore the "grand" in the designation Grand Opera. This current production has become both famous and infamous. It is highly regarded as it marked the return to La Scala of veteran opera and film director Franco Zeffirelli. But it has also been the fodder of tabloids because tenor Roberto Alagna walked out during the first act when booed during his opening aria. He has sworn never to return to La Scala, and his wife, outspoken soprano Angela Gheorghiu, has threatened to join him. Fortunately, this filming was done before the difficulties, but one can see the problems coming.

Frankly, Alagna as Radames is a weak link in this production. I have always felt that this tenor pushes his voice to its limit without anything in reserve, and now that he is older he seems to be pushing it where there is nothing left to add. His opening aria is sharp in pitch and bare of tone, and his acting is wooden. Granted, Verdi was cruel in giving Radames his big aria right off the bat, with scarcely any time to warm up. But others have risen to the occasion, so that should be no excuse. Alagna gets better toward the end of the opera, but by that time it is too late for us to identify with his character.

Violeta Urmana makes a passionate and earthy Aida. Her singing is good, often outstanding. Ildiko Komlosi would no doubt make a commanding Amneris were it not for the Cher getup she is required to wear. She comes off as sensational in the darkly lit Act IV, when we can hear her powerful voice without seeing her too well. Carlo Guelfi is also given a frightful wig to wear, which seems incorrect for his character, Amonasro, King of Ethiopia. He sounds solid and reliable, if not inspired. The real stars of this production are Zeffirelli’s gigantic sets, the singing of the chorus, and the exuberant ballet dancers. The triumphal scene in Act II is a knockout, as maestro Riccardo Chailly strikes lots of sparks from his massed forces. I doubt the "Verdi trumpets" required for this scene have ever been heard (or seen) to greater effect. The audience is savvy in its judgment, giving Chailly and Zeffirelli much more applause than it does to any of the principal singers.

The DVD's picture is rich in color but a little short in detail at times. What’s more, the director or editor has decided to insert post-production close-ups of flowing cloth or unfocused lights when there is a camera switch. This is not between scenes, mind you, but during arias. It’s so wrongheaded and distracting that one simply wonders what they were thinking. At many other times the camera seems to dwell on superfluous material when it should be focused on the singers. The sound is first-rate, with presence not usually found in live opera recordings.

So all told, this is not a very satisfactory DVD of one of the world’s most famous operas. Where should one go to fine one then? There is a very good one on DG DVD [440 073 001] of a Metropolitan Opera production starring Placido Domingo, Aprile Millo, Dolora Zajick, and Sherill Milnes. But for my money the best DVD Aida is one that sounds the worst on paper. It is a performance in honor of the 100th anniversary of Verdi’s death, was filmed in the composer’s home town of Busseto, rehearsed and cast in a workshop situation directed by Zeffirelli, and is available on TDK DVD [DVUS-AIDDB]. The names are unknown (or were in 2001), the pit orchestra small, and the stage resources limited, but this version gets the story across better than any other, and the young cast members not only sing with astonishing professionalism, they act and look their parts to perfection. Scott Piper is a particularly good-sounding Radames, and his scenes with Adina Aaron (as Aida) really sizzle. If you haven’t seen that production, stop reading and order it. It’s one of the real winners in the entire DVD opera catalog.

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