Aida; Price, Vickers, Gorr, Merrill & Solti; 1962
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- čas přidán 2. 12. 2017
- 1962 DECCA recording of Giuseppe Verdi's "Aida".
Aida: Leontyne Price
Radamès: Jon Vickers
Amneris: Rita Gorr
Amonasro: Robert Merrill
Conductor: Sir Georg Solti
Orchestra e Coro del Teatro dell'Opera di Roma
Act I 00:00
Act II 00:42:26
Act III 01:25:12
Act IV 01:57:51 - Zábava
LEONTYNE PRICE ~ Happy 96th Birthday !!! ~ Friday, February 10, 2023. Many thanks for the joy you brought into my life with your glorious singing. I have been a fan of yours since I was 11 years old in 1961. Gratefully I saw and heard you in the early and mid 1970s. God bless you.
One of the VERY best. It can hardly be bettered.
The BEST of the best Aídas EVER! Rita Gorr in the scena del giudizio cursing the sacerdotti is unforgettable!
That "voi punite, voi punite chi colpa non hà" is the best EVER!
The phrase "oh chi lo salvo" by Gorr is unforgettable too.
This is for me the best performance and the finest recording of "Aída". Leontyne Price is the Aída of the century, and Vickers is extraordinary, particularly in the final duet. There are better tenor voices than his, but his singing is incomparable. He turns his flaws into virtues. Rita Gorr, magnificent. Thanks for loading.
I bought this Aida in the seventies. As I listen to it now after decades of not having the LPs any longer, I am surprised I remember the score so well. I appreciate the performances more now than I did back in the seventies. Great cast!
Leonty Price is the best Aida. I cannot get enough of listening to her.
Arnaud Dufrasne. Rita Gorr la plus incroyable des Amnéris.Son aigu est insurpassable.Son timbre homogène.
C'est la plus grande des mezzos.
I bought this very recording when it was first offered on vinyl.
I still have it 56 years later. I practically have the whole thing memorized. Only Price remains.
The best ever..............
Full agreement.
This recording was the first opera set i ever bought.
13 jan, 1964... a big day in my life. lol
it remains my desert island choice, if ever i had to chose.
imo it is THE commercial set to have.
The recording of the gods. ❤️ (Rita Gorr should have also gotten top billing too!!) My grandmother had this recording and it is still to this day the greatest one ever made.
My favorite recording ever of my favorite opera ever, been listening to it for decades. Love Aida with this cast!
@Barone Vitellio Scarpia subjectively! Subjectively better ;)
I admit the 51 recording is superb , but there are people out there who would say the second take by Karajan/vienna philharmonica is the best one(!^^) . it's allways subjective.
But to be honest i am quite fond of THIS recording too..mostly because of the stellar performance of Vickers though and Solti's dynamic.
@@Sporting1210 , io sono di quelli "la fuori"... comunque la Price e' strabiliante.
Miss Price is pure elegance. A beautiful, intelligent lady. I was surprised she's still alive but very happy to know that. I hope she's healthy and happy. ✝✝
Absolutely gorgeus edition ...... Wonderful singers for very brilliant conductor!
Bravo - and thanks
stupenda edizione di Aida!!!
Peccato la Gorr...voce dal timbro poco aggressivo per la parte di Amneris, corretta ma piuttosto noiosa. La Price e' la Price, indiscutibile. Un 3° atto miracoloso. La Price e' stata impiegata pochissimo dalle case discografiche, poteva registrare altre decine di ruoli, specie in quegli anni...anche una Norma, la sua Casta Diva, per quanto insolita, e' straordinaria.
I know nothing of Vickers' personality, but as a tenor he is uniquely great. I absolutely love his sound and his artistry. He and Price are glorious together.
Best recording ever, Leontine Price vocal range is amazing, the best Aida for me.
In my opinion , this is the best recording of Aida, the cast and orchestra are superb. Thank you for putting this up.
Three great voices in this legendary recording and they sound sublime in the Nile Scene: Price, Vickers and Merrill. Wow! Solt's understanding of the score is perfect. Only Gorr is not to my tastes. Price sounds exotic, feminine, alluring, sexy and beautiful just as Aida should be and not like an old matronly mannered woman screaming as some of her contemporaries did. She is Aida, forever.
Only Vickers sings a pure High C at the end of Celeste Aida as Verdi wrote it. This was the first recording of Aida i purchased in 1962. For me it remains head and shoulders above any other. Solti, Price, Vickers, Merrill: Brilliant!
Verdi wrote a B-flat, not a High C. Secondly, Vickers is not the only tenor to have managed that: Helge Rosvaenge recorded it that way, too (though he sang the aria in German).
Verdi also wrote the final phrase to be sung pianissimo. I haven't heard it sung that way in almost any version. Here, Vickers does a crescendo which is not how it is swritten in the score. Bergonzi maintains pianissimo in every version I've heard - studio and live.
Corelli sings it with a vanishing pianissimo on the Mehta
Great recording with Sir Georg Solti.
What a great cast!!!! the best ever
PRESTÓ PERFECTA!
Excellent recording. Solti keeps things moving nicely, and the cast is terrific.
I love 'Possente, Possente Ftha' (31:00-36:56). Solti, the soloist and the chorus capture the exoticism and mystery of Verdi's Ancient Egypt exquisitely.
Price owned the role of Aida
Axel Zeltsch Axel my friend.How much did Madame Price pay for it??? $$$ LOL. Yes I agree with you.Early leontyne price was incredible. I saw her Live Twice and the first time I thought I was transported to another dimension. I had never heard a voice like hers. something truly fantastic. So Primal and pure. I was tripping for a week. Take care my friend. Arnold Bourbon Amaral
DEFINITIVA MENTE , LEONTYNE PRICE is AIDA .
Thank you for sharing such a treasure!
THE GREAT IDEA OF VERDI'S AIDA IS IN THIS VERSION MORE THAN PLASMATE.CONGRATULATIONS FOR ALL OF THE PARTICIPATES!
je decouvre et waouh fabuleux!!!!!!!
Quite often I listen to an opera from begining to end before switching to another. With this recording, I encore so many stretches of it, it always takes qite some time before I can swich off to another. My encores usually start with Aida's 1st entrance. Price's singing here is otherworldly. I never heard such beautiful sounds flow from another human being. Similarly, when I listen to the RCA Lohengrin with Konya, his voice often creates the same impression. And Amar's purity of sound is miraculous.
Sorry, Amara's purity of sound is miraculous.
Favorite scene around 36:50 -- end of Act I, duet with Radames and Ramphis, at the temple with priestesses, before Radames goes off to war... Of course the whole opera is spectacular, but this I find the most powerful dramatic spectacle scene in any opera ever, even more so than the triumphant march later in Act II.
The best!
Madame Price👑 in her prime. The most beautiful voice to come out of America. Saw her twice 1974 a 1985. In 1974 I thought I had been transported to Opera heaven. Will never heard a voice like this again absolutely exquisite and hypnotic her top beautiful voice is it was incredible. Arnold Bourbon Amaral
Amen!
Wow!
Uma das minhas gravações favoritas de Aida em estúdio. Vickers do ponto de vista vocal não é dos melhores Radamés, não tem aqueles grandes agudos de Corelli e Del Monaco, porém seu timbre heróico deixa essa gravação muito interessante. Price e Merrill são mais do que eficientes.
He had all the high notes in this role with ease, especially in 1962 !!
How can the singer of the role of Amneris ( Rita Gorr) be left out on the front cover ????
Mezzos are frequently left out when their name is not in the title role. eg. Il Trovatore, " Domingo Price Milnes"...and who else ?????
Viva Merrill!
錄音演奏都非常好的版本
Thank you
💙💙❤❤
1:48:30 Goes (to my hearing) from seduction to heartfelt longing for her homeland. It is just beautifully sung and felt.
And 2:21:17 is so beautifully sad.
I think on balance this is the finest recording of Aida. The Rome Opera orchestra is no match for the Vienna Philharmonic on the Decca recording made a couple of years earlier but I prefer Price to Tebaldi as Aida. The other roles are about equal, Simionato having a more beautiful voice than Gorr but the latter gives a really engaging performance. The same could be said for Bergonzi and Vickers. 1:37:29 to 1:45:33 the finest music ever written in the history of opera IMO. and never has it been performed so magnificently as on this recording.
Aida by Nilsson, Corelli, Bumbry, Mehta from 1967 is better imho.
agreement in most aspects with everything you said here.
all reports say tebaldi was a magnificent Aida in the early 50s but by the time of this recording it was not for her in the way it was for young Price.
but regarding the orchestra... i remember most of the critics said the same thing when this set appeared.
for me, however, the snarling aggressive militant brass that solti emphasized throughout is SO right for the drama.
i never felt cheated at all by the Rome Opera orchestra here but really do love the sound.
This recording was originally issued under the RCA label but I guess it was probably engineered by Decca due to the arrangement existing then between the two companies
명반이네요!
Great recording/performance, even with Solti trying to be the star- the singers win!
Too bad Solti drowns out Vickers on the famous aria right when he's reaching for the high note. All you hear is blaring brass. Listen to the Muti recording with Domingo. You can hear the high notes.
@@reidwhitton6248 always a problem with Solti
@@jefolson6989 , Solti era un ottimo direttore, forse piu' discografico, ma non e' stato un fuoriclasse come Bernstein o Karajan o Pretre.
Imagine aida with country music text icon. The same text icon as arby's and Wendy's.
Rita Gorr ... magnifica...per il resto preferisco Tebaldi Bergonzi.....
I just listened to both of Leontyne Price's Aidas and the first one is the better, hands down. The second is good but seems to put more emphasis on beautiful music than creating a compelling drama. The only improvement it brought to the table was Grace Bumbry's fiery Amneris.
Placido Domingo has the more 'polished' sound but Jon Vickers sounds more like a rugged, world-weary, warrior who knows the Egyptian military and government inside and out.
Georg Solti's conducting is more regal and majestic--I especially loved the bright piercing brass--and he isn't afraid to get his hands dirty with the drama, either.
I also loved the echoing acoustics because they give the distinct impression of high pillared, stone-floored temples and palaces.
While my favorite Aida is still the Birgit Nilsson/Franco Corelli/Zubin Metha recording, this is a close second. If you haven't heard that one yet, you really should because it has so many great moments--Corelli's diminuendo at the end of Celeste Aida, Bonaldo Giaiotti's "RADAMEEEEEEESSSSS!!!!” in the trial, the way Nilsson lightens her gigantic voice little by little in the final duet and the most ethereal temple scene you will ever hear thanks to Metha's rich, full-bodied, complex conducting and the echoing sound.
czcams.com/video/vUJNAXy2wkc/video.html
wow..... perfectly said, on both issues.
"Georg Solti's conducting is more regal and majestic--I especially loved the bright piercing brass--and he isn't afraid to get his hands dirty with the drama, either.
I also loved the echoing acoustics because they give the distinct impression of high pillared, stone-floored temples and palaces."
i have often thought if a set designer just listened to this recording, he/she would hear the look of the show.
Please add the bass soloists in the description.
Bass Vocals [Il Re d'Egitto] - Plinio Clabassi
Bass Vocals [Ramphis] - Giorgio Tozzi
As per Discogs.
@@aclassicaltrove Thank you.
hi mark
increibles especialmente Jon Vickers, Rita Gorr y el increíble sonido que crea Georg Solti. Price, maravillosa, pero las sopranos llorosas me cansan...
PRICE, VICKERS, MERRILL... GORR is not on the cover, strange.
@Barone Vitellio ScarpiaAt least she properly fits the role. Nillson has a great sound but shouldn't have played Aida.
And many time the role of Azucena, regardless of which legend is singing it, is also left out. Mezzos need not apply ????
59:43
Leonie Rysanek was supposed to be the soprano for this recording but she didn't get along with Solti and was replaced by Leontyne Price. Though I love Leontyne it would have been interesting to hear Leonie as Aïda.
I dispute that Rysanek was scheduled to sing this recording. She WAS scheduled to sing in the recording of the Verdi Requiem with Reiner the year before, backed out, and LP stepped in.
David Perkins - I read in an article that Leontyne Price replaced Leonie Rysanek in two RCA Verdi recordings - the Aïda/Solti and the Requiem/Reiner. Now, I wasn't there when it happened nor do I know the two ladies concerned so I am not to argue over this, I am only quoting what I read !
David Perkins - the article is on the online opera magazine Parterre Box (parterre.com) under impossible discs.
Thanks. Yes, but that is not a reliable source. I know the Requiem substitution is true, because
I have a letter from Mrs. Reiner saying so! The Aida is doubtful, because by then Leontyne was an established RCA artist and the world's leading Aida, and had recently performed it, a few months before this recording, with Vickers in Vienna. They were also expected to perform the opera together at the Met that fall, in Vickers' house debut.
This was Price’s role...the greatest Aida.
For me , the best Aida was Zinka Milanov... Great Milanov !
Two not very nice persons , Vickers and Solti.Solti and Vickers are at their best in Wagner.Vickers was fantastic Tristan and Siegmund.He was afraid of Birgit Nilsson.Solti behaved rudly towards Jussi Björling when Decca started a recording of Un ballo in maschera with Nilsson , Simionato and Bastianini.
Leontyne Price high notes are simply inaudible in the ensembles , her voice cannot pass the orchestra
No one has all the vocal elements required for this role-- Leontyne has more than most. She had a dark voice with rich overtones, extraordinary breath control and legato, and an upper register that glowed and shimmered but did not penetrate in fff moments. Do you want a soprano who has the C and Bflats in the Triumphal scene but can't float the tone in Numi pieta, O patria mia, or the duets?
two things to consider... the microphone placement and... does aida neeeeeed to be heard in ensembles above the orchestra and chorus?
the first Aida i ever heard live was Birgit Nilsson.
at the end of ma tu re concertato you definitely DID hear her and it WAS thrilling. but is that the role?
thinking dramatically, and that did matter to verdi, does a single character need to be heard above others in crowd scenes? it is a crowd scene, afterall. the individuals are part of that crowd. part of it. ensemble.
i find that most often when there is that dramatic or musical need (the same thing with verdi) he sets it so they can be heard.
the ensembles in Ernani, Trovatore, Traviata, Boccanegra all show that.
i read in an early career interview with her and speaking of Aida, "why blow out my voice in the big ensembles singing the same thing everyone else is singing?
i wait until the juicy phrases of act III to give them what they call for."
if not exactly those words after 60 years, words to that effect.
vocally and dramatically i feel an AIDA who has that vocal shimmer and gold in her throat gives us more in that regard than simply the stentorian voice of steel in ensemble work.
my opinion.
@@artistsf1 Verdi wrote notes for Aida in the two 2nd act ensembles that must be audible and must soar. Dramatically ? You can say Price is satisfaying dramatically with such bad phrasing and bad italian ?
@metropolitan1966 Of course sir: if you don't care that a singer who sings Aida, La Forza del Destino, Tosca, ecc does not even have a "forte", let alone "fortissimo", that Verdi and Puccini have written (Price arrives as maximum to a mezzo-forte), if you call a high note of a true soprano spinto "screaming", you can no longer speak of opera or singing because you do not understand anything.
@metropolitan1966 In her 1962 Karajan's Tosca recording, Leontyne Price's C in the torture scene is effortful and the note frays and is thin as a pin, It is a note that is worth nothing, she seems a soprano of a choir, "una comprimaria" on those Cs
Rita Gorr ... magnifica...per il resto preferisco Tebaldi Bergonzi.....