Verdi: Aida (complete opera live 1951) with Maria Callas, Mario del Monaco, Oliviero de Fabritis, Orchestra & Chorus of del Palacio de Bellas Artes, Mexico City

Apocalypse Now

This is the legendary, oft-bootlegged 1951 Mexico City Aida; EMI's remastering cannot make a silk purse out of a sow's ear, but the crackling broadast mono has never sounded better, and if the orchestra is slighted, the voices are front and center, and that is the issue here because the voices are basically three of the greatest opera singers of their day throwing caution to the winds and letting the audience in on the Preakness of Verdi singing:
Mario Del Monaco as Radames: all of the cliches are true, he is the loudest motherhumping tenor in the history of recorded opera. Subtle? No. But who can look away when Vesuvius is erupting?
Callas -- too many people know her from her studio recordings made when her voice was a magnificent, expressive wreck. Her reputation as the Billie Holiday of opera is sadly undeserved (beneath the cracks and failed reaches for the note, expressive genius); archival recordings pre-1955 like this one reveal once and for all the most formidable dramatic soprano ever recorded. Here she seems to be jazzed by the competition of her co-stars, and lets loose in a fireworks display worthy of Nillson. Everyone talks about the high E-flat in Act III here with good reason; in less than 4 years, Callas would not be able to replicate the feat. In this recording, Callas is at her friskiest -- and crushes every other Aida I've ever heard.
Oralia Dominguez, in the crucial role of Amneris, I'd never heard of before; she is absolutley phenomenal, many of the reviewers here claim she was a first-rate Verdian under-recorded; judging by her performance here, this may be a greater tragedy than Callas' sad fate. She's amazing.
So the sound, while servicable, should not make this your first Aida. The opera has never been my favorite Verdi, it always seemed a little pro forma in its pagaentry, so I gravitated to the recording that piled on the thrills, the Solti/Price version on Decca (which I recommend still as a first choice). But then I heard this one -- and the earth opened up. It must have been one hell of an exciting summer night in 1951 Mexico City (Was Kerouac listening on the radio -- he was writing On The Road there in that city at that time, and was a huge opera fan...), with three of the most powerful singers in their prime attempting to outdo each other. If you like the live airshots of Callas as lady macbeth with deSabata and Violetta with Giulini, then you know what I'm talking about -- crappy sound and all, this is in that company, La Divina at her best.
December 2, 2008

The AIDA of a generation

I agree with other reviewers that this is, by far, the most exciting live AIDA in existence.

This 1951 Mexico broadcast crushes all critics who accused Maria Callas of never having the voice for the role. They must have been referring to her, admittedly quite ordinary and uneven, 1955 recording. Maria sang Aida live on stage often from 1948 to 1953, then dropped the role from active repertory.

This Mexican evening is simply electrifying, with Oralia Dominguez, Mario del Monaco, and Giuseppe Taddei all in excellent voice, and Oliviero de Fabritiis superb on the podium. Dominguez is especially admirable as Amneris in Act IV Scene 1, which by itself justifies this opera's greatness.

Maria was just 28 years old in 1951, not yet the great international star, and singing in her second Mexican season. The voice is enormous, the instrument untarnished. She offers a passionate, full-bodied, desperate Aida, rich and smooth of tone, even if she sings the exposed high C in "O patria mia" forte, not dolce. But oh what elegant phrasing in the long spinning lines of the Nile Scene, what endless breath control, what a caressing, seductive, magical Aida this is! The final scene is unforgettable, with both Callas and del Monaco having no problem in decibels, soaring effortlessly in the arching phrases of "O terra addio", the orchestra violins swelling and subsiding, and love vanquishing the darkest of destinies. Listen, people, and marvel.

This AIDA (like the 1950 performance, also from Mexico City, which is however inferior in the overall cast) of course features Maria's stunning high E-flat in the end of Act II: held for 7 seconds, the note flashes like a comet over the heavy orchestration with such roundness and accuracy, your jaw drops.

Absolutely, highly recommended.

For another superb live AIDA please refer to the 1982 Berlin Varady/Pavarotti/Barenboim recording, creamy and smooth and beautifully balanced. My favorite studio recording remains the first Leontyne Price (1962) with Jon Vickers, Rita Gorr, and Solti conducting. Vickers is outstanding as Radames. The 1974 Caballe/Domingo/Muti recording comes a close second. February 15, 2008

5 Stars for Performance

It pains me to give this product only 4 stars because in every respect of the performance it deserves a perfect score (5 stars !). Callas is an astonishing Aida here. But, rather than expound on its musical merits (I think the other reviewers here have already made it clear that this is a must have), I will just comment on the quality. EMI can do a much better job at cleaning up this recording, but seeing that people will buy it anyway in its present condition, they choose not to spend the money. I think as consumers we should be more demanding of better quality from these precious pieces of recorded art. I'd certainly pay more money for a well re-mastered version of this, and other great recordings. July 30, 2007

Why 5... Find Out!

This Aida is perhaps the best I've ever heard. Even in the libretto it states that it is a full-blooded performance. I whole-heartedly agree. Callas, once again giving her exciting performances in Mexico City, turns her Aida into the stuff of legend. Again. Del Monaco is the best of any Radames. Yes, Domingo had the dramatic capability, but Del Monaco's overpowering voice should well be the trademark of the overpowering Egyptian military leader. Dominguez is the best of any Amneris I've heard, and also is mentioned in the libretto as having "opulent" tones. The word "opulent" doesn't begin to describe the effect she had on me in "L'aborrita rivale a me sfuggia". In the "Rivedrai le foreste imbalsamate" duet with Aida and Amonasro, Giuseppe Taddei tops all expectations, blowing back even Tito Gobbi. Altogether, this recording is a must even for people who hate Callas. 5 stars. October 12, 2006

Callas Aida, Mex. City, 1951

Everyone is on fire in this performance. Singers today do not have that "fuoco". Thanks to recordings like these, opera fans of the post Callas era, like myself, can get a "glimpse" into her glorious past. Callas and Del Monaco soar over everything else in the second act! And of course, the famous E flat! O. Dominguez as Amneris! I became an instant fan; hard to find other recordings of her. Some of the reviewers refer to Anmeris as Simionato, it is Dominguez! Taddei is perfect as Amonasro - great visceral singing- no baritones like him around anymore. Who cares if the sound is not perfect? I like all the environmental sounds, it makes me feel like I am right there. I only listen to live stuff anyway, because it is the real deal; I find most studio recordings boring. It is the best AIDA I have heard. Get it! July 21, 2006

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