This performance, from Mexico City in July, 1951–in terrible sound, even for its time–shows Maria Callas a finer Aida than in her commercial recording, and better than the earlier “pirates” that have been available on and off for years. The voice is in superb shape and her singing is fearless; she’s like a filly just let out of the paddock. She’s as expansive with her chest voice and rock-solid mid-range as she is with high notes (she takes a high E-flat at the close of the Triumphal Scene that’s one of history’s most glorious examples of soprano showing-off)–and from her very first words we sense the resentful, tragic slave-girl-daughter-of-a-king. Compared to many of her other heroines, Aida is uncomplicated; still, Callas makes us feel her divided loyalties, her confusion, her anger, her love. “Ritorna vincitor” is gigantic and a bit overstated and “O patria mia” is fine, although if you compare her to a more purely “vocal” singer like Caballé or Tebaldi, she fails in the “lovely” department. But I wouldn’t part with this performance for anything.
Mario del Monaco’s Radames is potent, warrior-like, and thrilling–and entirely lacks subtlety; and while Giuseppe Taddei is a finer artist, his Amonasro also is blustery and unrestrained. Oralia Dominguez is a direct Amneris, definitely to be reckoned with. Oliviero de Fabritiis leads a very exciting performance, worthy of his prime-time cast, and what we can make out of the orchestra and chorus seems good enough. This is clearly for Callas fans, but even then, be wary of the sound quality.
