{"product_id":"tebaldi-verdi-aida-1952-paco194","title":"TEBALDI Verdi - Aïda (1952) - PACO194","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAïda\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1952\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 22:53\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRenata Tebaldi - \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eAïda\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eEbe Stignani - \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eAmneris\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMario Del Monaco - \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eRadamès\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAldo Protti - \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eAmonasro\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eDario Caselli - \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eRamphis\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eFernando Corena - \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eKing Of Egypt\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiero de Palma - \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eMessenger\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSanta Cecilia Academy Chorus \u0026amp; Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlberto Erede\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO194.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003e\nDevotees of ''full-blooded’’ Italian operatic singing—which is only too\noften a polite synonym for old-fashioned bawling—will not find this the \u003cem\u003eAïda\u003c\/em\u003e of their dreams; but they are already fairly well catered for\nin the existing H.M.V. version. This performance is on a higher artistic\nplane altogether, the goal being not mere brilliance and vocal display but\ndramatico-musical effect and convincing characterisation. (That \u003cem\u003eAïda\u003c\/em\u003e, being a \"festival\" opera, is always mounted with an eye to\nthe spectacular is not an irreconcilable fact. One can enjoy the massive\ncrowd-effects, the elephants and the rest of the trappings without\nnecessarily discarding musical finesse.) The tone for the whole production\nis set by Renata Tebaldi, who gives a more musicianly reading of the\nname-part than I remember ever hearing before: this accomplished artist,\nwho has already given us memorable recordings as Mimi, Tosca and Butterfly,\nnow tackles with conspicuous success a part which combines both the lyric\nand dramatic types of soprano voice—though her natural inclination seems to\nbe towards the former. For example, her \u003cem\u003eRitorna vincitor\u003c\/em\u003e (which I\nlike better than the isolated recording she made two years or so of this\naria) is, for all its sensitivity to changing moods, less outstanding than\nher Nile Scene solo, which is touchingly beautiful. And, as in \u003cem\u003eLa Bohème\u003c\/em\u003e, her Death Scene almost reduces me to tears. Her\nsympathetic feeling throughout the work for line contrasts strongly with\nCaniglia’s declamatory barking in the H.M.V. set.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nThe part of Amneris is taken by that great artist Stignani, whose voice\nsounds as fresh and youthful as it ever did. It is in the highest degree\ninstructive to compare her superb performance here with her reading of the\nsame part in the H.M.V. recording, in which she pushed her tone\nunmercifully: here she carries complete conviction as the proud princess\ntorn asunder by conflicting emotions. One of the highlights of this\nperformance is her great jealousy-duet with Aïda in Act 2, which is broken\nin upon by the sound of trumpets in the far distance…\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nWhen we turn to the consideration of the acoustic standard of this\nrecording, we come up against the age-old problem of opera-house atmosphere\nand stage illusion. This performance has obviously taken place in a theatre\n(an empty one), and the engineers have been at some pains to reproduce the\naural perspective of this opera. There is, for example, excellent\natmosphere in the Judgment Scene and the final duet in the vault, with\nAmneris and the priests above the lovers' living tomb; and the effect of\nthe stage trumpets in the triumphal procession (apparently from different\nparts of the stage) is brilliant—act 2 ends in a real blaze of glory. But\nuse of an opera-house is responsible for two defects : the orchestra (whose\nplaying is admirable) sounds as if it is, in fact, in the orchestra-pit,\nbeing picked up only by the stage microphones, and hence is very woolly and\n“backward” in quality ; and the full chorus, seemingly stretching back for\nsome way on a vast stage, produces a cavernous sound which is badly lacking\nin definition. Even the smaller chorus of Amneris’s attendants at the start\nof act 2 (one of the weaker moments of the score) is fuzzy.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nThe great artistic merits of this performance, however, should outweigh\nthese shortcomings—which, as always, are so much more evident in a\nrecording (where there are no visual distractions to mitigate them) than in\nthe theatre, where far greater defects can pass almost without comment.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n\u003cb\u003eL.S., \u003ci\u003eThe Gramophone\u003c\/i\u003e\u003c\/b\u003e, December 1952 (\u003ci\u003eexcerpts\u003c\/i\u003e)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\nIt is interesting to read the criticism here of the orchestral sound in\nthis recording. After the tonal rebalancing aspect of XR remastering any\nsense that the orchestra is in any sense “woolly and backward in quality”,\nor indeed poorly recorded at all, has entirely vanished. If we compare it\ndirectly with the 1955 Callas \u003cem\u003eAïda\u003c\/em\u003e I remastered not so long ago (\u003cem\u003ePACO178\u003c\/em\u003e) one hears very similar sound quality in the orchestral\nand balance - which is very good for its age. However, in the original\nrecording of 1952, prior to this remastering, even in Decca's most recent\nreissue, the tonal balance is pretty grim and unpleasant. It’s something\nthe Decca engineers would soon begin to iron out - by the time Decca\nreturned to Rome in 1954 to record again with Tebaldi and Del Monaco they\nhad taken huge steps forward in sound quality. But it has taken XR\nremastering to finally bring out the true – and wonderful - sound quality\nlocked into this recording, unheard for some 70 years.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003ci\u003e\u003cb\u003eANDREW ROSE\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eAïda\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (66:56)\u003cbr\u003e\u003cbr\u003e1. Preludio  (4:11)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT ONE, SCENE ONE\u003c\/b\u003e\u003cbr\u003e2. Sì: corre voce che l'Etiope ardisca  (1:28)\u003cbr\u003e3. Se quel guerrier io fossi!  (4:20)\u003cbr\u003e4. Quale insolito gioia nel tuo sguardo  (3:07)\u003cbr\u003e5. Vieni, o diletta, appressati  (2:44)\u003cbr\u003e6. Alta cagion v'aduna  (3:12)\u003cbr\u003e7. Su! del Nilo al sacro lido  (2:57)\u003cbr\u003e8. Ritorna vincitor  (6:24)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT ONE, SCENE TWO\u003c\/b\u003e\u003cbr\u003e9. Possente, possente Fthà  (3:04)\u003cbr\u003e10. Immenso, immenso Fthà!  (3:00)\u003cbr\u003e11. Nume, custode e vindice  (4:18)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT TWO, SCENE ONE\u003c\/b\u003e\u003cbr\u003e12. Chi mai fra gl'inni e i plausi  (2:49)\u003cbr\u003e13. Danza di piccoli schiavi mori  (3:04)\u003cbr\u003e14. Fu la sorte dell'armi a' tuoi funesta  (5:24)\u003cbr\u003e15. Pietà ti prenda del mio dolor  (4:26)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT TWO, SCENE TWO\u003c\/b\u003e\u003cbr\u003e16. Gloria all'Egitto, ad Iside  (3:40)\u003cbr\u003e17. Marchia trionfale  (1:53)\u003cbr\u003e18. Ballabile  (4:34)\u003cbr\u003e19. Vieni, o guerriero vindice  (2:22)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (75:57)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT TWO, SCENE TWO\u003c\/b\u003e (\u003ci\u003econtinued\u003c\/i\u003e)\u003cbr\u003e1. Salvator della patria, io ti saluta  (2:01)\u003cbr\u003e2. Che veggo! Egli? Mio padre!  (1:16)\u003cbr\u003e3. Quest'assisa ch'io vesto vi dica  (2:11)\u003cbr\u003e4. Il dolor che in quel volto favella  (2:10)\u003cbr\u003e5. O Re: pei sacri Numi  (5:22)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT THREE\u003c\/b\u003e\u003cbr\u003e6. O tu che sei d'Osiride  (4:30)\u003cbr\u003e7. Qui Radamès verrà!  (6:53)\u003cbr\u003e8. Ciel! mio padre!  (7:48)\u003cbr\u003e9. Pur ti riveggo, mia dolce Aida  (2:48)\u003cbr\u003e10. Fuggiam gli ardori inospiti  (5:59)\u003cbr\u003e11. Ma dimmi: per qual via  (3:01)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eACT FOUR, SCENE ONE\u003c\/b\u003e\u003cbr\u003e12. L'aborrita rivale a me sfuggia  (2:56)\u003cbr\u003e13. Già i Sacerdoti adunansi  (6:36)\u003cbr\u003e14. Ohimè! morir mi sento!  (7:39)\u003cbr\u003e15. A lui vivo la tomba  (3:26)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eACT FOUR, SCENE TWO\u003c\/b\u003e\u003cbr\u003e16. La fatal pietra sovra me si chiuse  (5:26)\u003cbr\u003e17. Immenso, immenso Fthà  (5:53)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eChorus \u0026amp; Orchestra of Santa Cecilia Academy    \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAlberto Erede\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003eCAST\u003cbr\u003e\u003cb\u003eRenata Tebaldi \u003c\/b\u003e(soprano) - Aïda\u003cbr\u003e\u003cb\u003eEbe Stignani\u003c\/b\u003e (mezzo-soprano) - Amneris\u003cbr\u003e\u003cb\u003eMario Del Monaco\u003c\/b\u003e (tenor) - Radamès\u003cbr\u003e\u003cb\u003eAldo Protti\u003c\/b\u003e (baritone) - Amonasro\u003cbr\u003e\u003cb\u003eDario Caselli \u003c\/b\u003e(bass) - Ramphis\u003cbr\u003e\u003cb\u003eFernando Corena\u003c\/b\u003e (bass) - King of Egypt\u003cbr\u003e\u003cb\u003ePiero de Palma\u003c\/b\u003e (tenor) - Messenger\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eXR remastered by Andrew Rose\u003cbr\u003eRecorded August 1952, Santa Cecilia, Rome\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eTotal duration:  2hr 22:53 \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO194.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO194.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":44064698990682,"sku":"vxx1789303589774","price":24.13,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064699023450,"sku":"dpp1789303589775","price":19.91,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064699056218,"sku":"aru1789303589776","price":15.04,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/tebaldi-verdi---aida-1952---paco194_1.jpg?v=1789303597","url":"https:\/\/vestorawear.shop\/products\/tebaldi-verdi-aida-1952-paco194","provider":"My Store","version":"1.0","type":"link"}