The ideal way of enjoying a performance at the Arena di Veronais
to be there, preferably in a good seat in the stalls, where
there is a chance also to see the faces of the singers. From
the most distant seats the faces are not larger than a pin-head.
On video the magnificence of the sets tends to be compromised
but you often get close to the singers, which is all to the
good - if the singers are good actors. This specific production
has its interest primarily for historical reasons: the opportunity
to see sets and costumes that are reconstructions of the original
production from 1913. I saw the same production twice in the
1980s - the 1913 reconstruction was first shown in 1982 - and
since the memory inevitably has dimmed it was nice to revisit
it in all its glory. Those who never have been at the Arena
will get at least a little of the atmosphere while watching
this DVD.
Unfortunately the musical outcome of the visit is less inspiring.
Maria Chiara was the Aïda in Italy for many years.
Since I first heard her on records in the beginning of the 1970s
she has been one of my favourite sopranos. By 1992 her voice
had lost some of its bloom and she had developed a vibrato that
under pressure became rather disturbing. It’s a pity since
she has so deep an insight into the role. There are several
places where she shows her class, for instance a heavenly pianissimo
in the Nile aria. That said, by and large she is disappointing
and her poor acting is a further minus. Those who want Chiara’s
Aida are better served by the La Scala production from a few
years earlier, conducted by Lorin Maazel with Pavarotti and
Dimitrova in good shape as Radames and Amneris. It is available
on both CD and DVD. There is also a DVD from Verona 1981 which
I haven’t seen, but there she is partnered by the formidable
Fiorenza Cossotto and the somewhat stentorian but glorious Niccola
Martinucci. Cossotto and Martinucci were regulars at Verona
for many years. Stentorian is also the word for the Icelandic
tenor Kristján Johannsson, who sings Radamès on
the present issue. In a few places, notably the duet in act
III, he attempts to sing softly but otherwise it’s full
throttle. He too is a stiff and unconvincing actor. In that
respect Dolora Zajick’s Amneris is better and vocally
she is in fine fettle though her big voice is sometimes afflicted
by a wobble. Juan Pons, another big-voiced singer, is a magnificent
Amonasro, but I wish he could have been more lyrical in his
solo in the triumph scene. Nicola Ghiuselev is a strong Ramfis
with a lot of stage presence. Carlo Striuli’s King is
more strained than I have heard him before but he sings and
acts with great authority.
There is a fair amount of shaky ensemble in the orchestra, noticeable
not least in the prelude, and Nello Santi’s conducting
is only routine. In short, there are many reasons to avoid this
issue.
Göran Forsling
see also reviews by Paul
Corfield Godfrey and Robert
Farr
Masterwork Index: Aida