Aida

Aida is a wonderful opera with a dramatic story, memorable characters-especially Amneris- and scenes- the final scene and Grand March- and some of Verdi's best music in Celeste Aida, the Grand March, O Patria Mia, the duet between Aida and Amonasro and the final scene.

I don't think I have seen an Aida production that has been completely flawless, the best was the 1989 Met production to me but it was one of the few times I wasn't crazy about Sherrill Milnes as Amonasro. This Aida is decent.

The production's problems are not many but in a way distracting enough to be talked about. The picture quality is fuzzy and the sound is distorted I agree, particularly at the start. Also I wasn't entirely convinced by Walter Fraccaro as Rhadames, the voice itself is pleasant at times with some great moments such as the lyric passages towards the end of the opera, but it sounds strained in the bigger moments particularly Celeste Aida, almost like a lyric tenor pushing to be a dramatic one. His acting is rather stolid quality too.

However, the costumes and sets are huge and have a grand feeling to it as they should do. The act 4 sets are the most striking. The lighting while not the clearest job I've seen does do well enhancing the opera's moods. The camera work is occasionally awkward, but mostly fine. The Grand March is choreographed decently if not entirely exciting. Staging is above serviceable, all the crucial scenes are very effective, however the end of act 2 seems rather crowded.

The orchestral playing is wonderful, and the conducting is brisk while still conveying the many dramatic and lyric passages with aplomb. Aside from Fraccaro, the rest of the performers were great. I think the biggest surprise for me was Vittorio Vitelli's Amonasro, I have seen too many Amonasros that are just good or disappointing, Vitelli has a very powerful voice and while not the most exciting actor he can act too.

Dolora Zajick has real Verdian expertise(I've seen her as Amneris and Azucena, she's excellent as both, and her rendition of O Don Fatale from Don Carlo is wonderful), and this proves useful as she once again performs Amneris. Her singing is great, her acting a little awkward, but she performs the final act especially with relish. Fiorenza Codelins copes very well with the demanding role of Aida, her lyric-spinto voice is very attractive, and her acting is competent with O Patria Mia poignant and sincere.

In conclusion a decent Aida. 7/10 Bethany Cox

This film is of the 1999 production of Aida from the San Carlo opera house in Naples. I recently saw their 2000 production of Nabucco and was impressed by the high production values. The same applies here: there is a trompe l'oeil Egyptian set that seems to extend deep into the distance, elaborate costumes and a cast, if not of thousands, at least of hundreds. In contrast, the film was made by an Italian pay per view company and seems to have been done on a shoestring. The picture is fuzzy and the sound is distorted. The lighting is alternately garish and murky. In fairness, I watched this film on the Performance channel who know a lot about broadcasting on a shoestring, usually with a tin can at either end, so it is possible that the fault is with them rather than with the Italian producers.

Walter Fraccaro is a competent Ramades but Fiorenza Cedolins is a shrill Aida. She wears an afro wig and so much fake orange tan that when she stands against the sandstone scenery she is almost invisible. Her acting is muppet-like as is that of her rival Dolora Zajick as Amneris. Unfortunately, occasionally, this Amneris also sounds like Miss Piggy. I usually root for the evil Amneris when I see productions of Aida because she is the most three-dimensional character and has the most ravishing music in the final act. Not the way Miss Zajick plays it.

The most embarrassing sight of the evening is the dance of the Ethiopian slaves. These are Italian women wearing chocolate-coloured body stockings and afro wigs gurning and waving their arms around like fugitives from a minstrel show. This is the sixth production of Aida that I have seen and the first one that did not reduce me to tears in the final twenty minutes as Ramades and Aida expire. After it finished I had to get the Zeffirelli version down from my shelves and watch the final act again, just to confirm that I did not have an obstructed tear duct.