Verdi: Aida (complete opera filmed in 2003)

186 Minutes - NTSC

Include :-
-Scenographer Josep Mestres Cabanes at the Liceu
-Illustrated synopsis
-Cast and Set Galleries

Symphony Orchestra and Chorus of the Gran Teatre del Liceu, conducted by Miguel Angel Gomez Martinez.

Filmed at the Gran Teatre del Liceu, Barcelona, Daniela Dessi, Elisabetta Fiorillo, Fabio Armiliato, Juan Pons and Roberto Scandiuzzi lead the cast in the renowned period production filmed in 2003 against the historic paper trompe-l'oeil sets painted between 1936-45 by Josep Mestres Cabanes, the last representative of the old Catalan school of scenography. Mestres Cabanes worked on his Aida vision for eight years. The opulent staging he created in 1945 is here in every detail. The seven magnificent sets he painted for Aida in 1945 have been subtly and painstakingly restored by Jordi Castells and his team - revealing the palaces, temples and surroundings of Memphis and Thebes which the set designer had wanted to evoke in his historical yet also fantasy-like vision.

These fascinating sets are not just realistic - but also magical in the theatrical sense. Mestres Cabanes loved the theatre which he had been exploring for over a quarter of a century. His sets are dramatic and visceral, conceived for stage action, conveying the dynamic tensions proper to each part of the work - intimate, epic, severe, sensual, troubled and tragic.

"AIDA Returns in Victory"

"The success of this production of Aida is unstoppable... The Liceu has reunited an amazing cast of voices... Daniela Dessi gives a deliciously lyrical version of the character far from the aggressiveness of other Verdi sopranos. Her "Ritorna Vincitor" is a jewel and her overall performance was overwhelmingly applauded.... The extremely moving performance of Fabio Armiliato was greatly rewarded by the audience.... The magnificent Elisabetta Fiorillo [sings] with fulsome deep bass notes... An immense Joan Pons... Excellent work of the Chorus... This re-staging of Aida is full of virtues... The production of Mestres Cabanes is admirable for the work of this last painter of the modernist catalan school."
-La Vanguardia, Barcelona (Translation)

"Elisabetta Fiorillo begins in rather a wide-vibrato-ed fashion. Interestingly, Dessì begins her contribution to the opera with a fair amount of wobble too, but rises to the occasion, culminating in Act 1 with a great entreaty to the gods at 'Numi, pietà'. Similarly, Fiorillo works into her part so that by Act 4 she is really quite convincing in admitting her love for Radamès, her remorse eminently believable.

The true test of any Aida/Radamès partnership occurs in the last Act of course, and here it is Dessì that confirms her vocal superiority over Armiliato. The pair do manage to make this a touching farewell, however.

Juan Pons' Amonasro is a big-voiced portrayal by a big man with a big presence. He is quite simply superb, making his mark with every note he sings. Roberto Scandiuzzi makes an impressive Ramfis. As the Messenger, Fadò is a bit bleaty on top. Stefano Palatchi's King on the other hand is very strong. Choral singing is excellent, well-balanced in pianissimo (try Act 1 Scene 2) and impressive at the higher dynamic indications."
- MusicWeb Jan 2005