Classical Ear, 17 Nov, 2015

Michael Quinn

Verdi: Aida

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.