La Scala went all out for its 1986 production of this grandest of grand operas, with a strong cast and, most important for a video recording, a larger-than-life staging. The Triumph Scene in Act II is by no means Aida's only attraction, but it is the part that makes the strongest and most lasting impression and it is the visual and musical climax of this production. Stage director Luca Ronconi brings on a procession to dwarf all processions: looted treasures, heroic statuary, miserable captives struggling under the lash of whip-bearing slave drivers. On par with these visuals is Lorin Maazel's first-class performance of the popular Grand March with the outstanding La Scala chorus and orchestra. In Act III, the contrasting tranquility of the Nile Scene also gets a visual treatment to match the music's qualities.
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I really liked this version of Verdi's majestic opera, with the lavish Egyptian settings. The only real things that bothered me was that some of the costumes looked as though they came from other opera productions. For instance, Amneris's dress looked like something out of Turandot, and Rhadames' looked rather Wagnerian, and also how badly the grand march was choreographed. The acting was variable with Dimitrova coming off best, but I was very impressed with the singing. Luciano Pavarotti makes a noble hero, more in the voice than in the acting, though he has been better in the 1988 version of La Boheme. I was also impressed with the beauty in voice and looks of Maria Chiara and she is a very competent actress, though she doesn't quite surpass Leontyne Price as the finest contemporary Aida. Juan Pons and Ghena Dimitrova do respectively as Amonasro and Amneris especially Dimtrova, but the real star was Nicolai Ghiaurov as Ramfis, with his rich noble voice and commanding stage presence. The whole production looks lovely, and the score is wonderful with Celeste Aida, The Grand March, The Nile Aria, and the act 4 finale the definite highlights. A good production, marred by the costumes and the choreography. For the best production, look no further than the 1989 Met production. 8/10 Bethany Cox.
This version of Verdi's Aida was performed on stage, and was never meant to be a movie, actually I don't think a full movie version of this opera was ever produced. But a stage production and a movie are different in many ways. Things that one can get away with in a stage production will show up clearly in a movie, for the camera will bring the spectator much closer to the set. There is nothing wrong with the music in this production, but the pageant is somewhat strange. This story was meant to be set in Ancient Egypt, but Radames looks more like a Viking warlord, and the priests look as if they have escaped from the temple in Jerusalem. I have a long standing problem with Italian costume designers, and this production has not improved matters, the Metropolitan version of Aida was much better in this respect.One has to consider why one wants to watch opera, personally I like an even mix, and I am prepared to sacrifice some of the quality of the music in order to get a better pageant. Pavarotti is unequalled as a tenor, but as an actor, impersonating a tombstone is about as good as it gets. And as soon as Dimitrova appears on stage, one will immediately understand why Radames tries to flee into the arms of Aida. Finally, why those poor slaves had to drag those statues around all the time, and how g-string little boys fitted in, I haven't figured out yet. This version is probably ideal for flamboyant people. Personally I like a more historically accurate approach.
