Track Listing

Disc 1:

1. Act 1.: Preludio
2. Act 1.: S�, Corre Voce
3. Act 1.: Se Quel Guerrier Io Fossi!
4. Act 1.: Quale Insolita Gioia Nel Tuo Sguardo
5. Act 1.: Vieni, O Diletta
6. Act 1.: S�, Guerra E Morte
7. Act 1.: Ritorna Vincitor!
8. Act 1.: I Sacri Nomi Di Padre...D'Amante
9. Act 1.: Immenso Fth�
10. Act 1.: Danza Sacra Delle Sacerdotesse
11. Act 1.: Mortal, Diletto Ai Numi
12. Act 2.: Chi Mai Fra Gl'Inni
13. Act 2.: Vieni: Sul Crin
14. Act 2.: Ebben: Qual Nuovo Fremito
15. Act 2.: Piet� Ti Prenda
16. Act 2.: Gloria All'Egitto
17. Act 2.: Ballabile
18. Act 2.: Vieni, O Guerriero Vindice
19. Act 2.: Salvator Della Patria

Disc 2:

1. Act 2.: Quest'Assisa Ch'Io Vesto
2. Act 2.: O Re: Pei Sacri Numi
3. Act 2.: Venga La Schiava
4. Act 3.: O Tu Che Sei D'Osiride
5. Act 3.: Qui Radam�s Verr�
6. Act 3.: O Cieli Azzurri
7. Act 3.: Ciel! Mio Padre!
8. Act 3.: Su, Dunque! Sorgete Egizie Coorti!
9. Act 3.: Pur Ti Riveggo
10. Act 3.: Aida! Tu Non M'Ami.
11. Act 3.: Tu! Amonasro!
12. Act 4.: L'Abborrita Rivale A Me Sfuggia
13. Act 4.: Ah! Tu Dei Vivere!
14. Act 4.: Ohim�! Morir Mi Sento
15. Act 4.: Radam�s! Radam�s!
16. Act 4.: Sacerdoti! Compiste Un Delitto
17. Act 4.: La Fatal Pietra
18. Act 4.: Presago Il Core
19. Act 4.: O Terra Addio

Product Details

• Amazon Sales Rank: #460828 in Music
• Released on: 1998-11-10
• Number of discs: 2

Customer Reviews

A performance still very much alive after seventy years.
AIDA was only 57 years old when this recording was made in 1928. In other words, it was still a "modern" opera, just as the operas of Prokofiev, Britten, and Hindemith are still "modern" operas for us. One implication is that the original performance tradition was still very much alive, certainly at La Scala, where this recording was made, and where AIDA had its Italian premiere in 1872. Part of that tradition was a sense of total commitment on the part of the artists. Giannini, Minghini-Cattaneo, Pertile, and Inghilleri certainly believe in the characters and the complex conflicts of the various situations. That conviction sounds through not only in their projection of the drama, but also in the quality of the vocalism. That quality is amazingly high, particularly in the case of Giannini, Minghini- Cattaneo, and Pertile. This is not merely good generalized singing; it is vocal art fully at the service of the drama. For a sample, listen to the sensitivity of Pertile's singing in the Nile Scene duet, Giannini's "O patria mia," and Minghini-Cattaneo's judgment scene. If you're not yet convinced, sample Inghilleri's beautiful legato in the magnificent "Pensa che un patria." I understand from those who know more about these matters than I that the Romophone CD version is the best available transfer of this historic recording. I recommend it highly as one of the two or three very best versions of AIDA.