Karajan’s second recording of Aida was recorded, like the first one, in Vienna in 1979 exactly twenty years later. For some reason, it is usually passed over in favour of the first, which starred the more obvious Aida cast of Tebaldi, Bergonzi, Simionato and MacNeil. Personally, I’ve always preferred this later one with a cast which, on paper, might seem lightweight, but actually works in practice very well.
Roughly contemporaneous with Karajan’s Berlin recording of Don Carlo this Vienna recording, though still wide ranging, is much better, more natural, putting the voices in a more natural acoustic, and Karajan in so many places brings out the beauty and lyricism of the score. He paces the score brilliantly and is most attentive to his singers. Not that this is an undramatic reading. Far from it. Though tempi can be measured, Karajan is an experienced Verdian and still infuses them with energy. The orchestral climaxes are stunning and all the singers relish the text and sing off the words. It hardly needs be said that the Vienna Philharmonic play magnificently.
Freni is a little taxed in places, nor does she command the sheer beauty of sound Caballé does on the Muti recording, but what pleasure it is to hear the text so well enunciated, so clearly communicated. Her Aida is lyrically vulnerable and I actually prefer it to many who one might consider more vocally entitled. On the other hand, the personality is small and doesn’t stay in the memory the way that Price, Tebaldi, Caballé and Callas do. Carreras is likewise a lyrical Radames, and his voice was still very beautiful at this phase of his career. He too sings well off the text. I like, for instance, the reflective way he sings Se quel guerrier io fossi, becoming more forceful in the second part of the recitative when he sings about the applause of all Memphis, before softening his tone again when he sings about Aida. How much of this is Carreras, how much Karajan I don’t know, but it makes for a more thoughtful reading than we often get, if without the clarion heroics of a Corelli or a Del Monaco.
Baltsa was also at her absolute vocal peak at the time of this recording, though she is no barnstorming Amneris. She reminds us that Amneris is a young spoiled princess, used to getting her own way but also vulnerably feminine and a vaild rival for Aida. It is a very convincing portrayal and she is absolutely thrilling in the judgement scene. Cappuccilli is maybe not so implacable an Amonasro as Gobbi, but he also sings well off the words, his breath control as usual exemplary. Raimondi and Van Dam are nicely contrasted as Ramfis and the King and the silken voiced Ricciarelli is luxury casting as the Priestess.
An excellent set, well worth investigating and, in my opinion, much more dramatically alive than the 1959 set, which has always seemed a little too self-consciously beautiful for my taste.