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Classical Ear, 17 Nov, 2015 |
Michael Quinn |
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Verdi: Aida
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Jonas
Kaufmann’s Radamès – his first – is defined by a sublime 'Celeste Aida'
boasting an evaporating B flat of rare brilliance. The Aida of Anja Harteros
is perhaps a little too vulnerable, Ekaterina Semenchuk’s Amneris a vividly
sung, scene-stealing presence.
It hasn’t been many years since the
death knell was loudly sounded for precisely this kind of high profile, top
rank, studio-recorded, sung- and played-to-the-hilt opera release. Happily,
and resoundingly in this case, a decidedly premature declaration. The
recording, following concert performances in Rome in February 2014, matches
(and often betters) the crucial sense of spacious accommodation captured in
John Culshaw’s revelatory 1959 Decca release. Antonio Pappano equals
Karajan’s conducting on that set for his consummate blending of driving
drama and soaring lyricism, qualities that inform pristine and powerful
contributions from both the Saint Cecilia orchestra and soloists. Jonas
Kaufmann’s Radamès – his first – is defined by a sublime 'Celeste Aida'
boasting an evaporating B flat of rare brilliance. The Aida of Anja Harteros
is perhaps a little too vulnerable, Ekaterina Semenchuk’s Amneris a vividly
sung, scene-stealing presence. Packaging is as lavish as the strong-in-depth
casting, albeit the booklet essay is disappointingly generalised.
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