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As we are aware, visuals are increasingly important to this "video generation." Without a doubt, both, young people and their parents will enjoy this luxurious, five-section gatefold album. The one important element missing is an intriguing plot description to draw in young listeners even before they hear the recording. While the Harcourt book described in the disc's jacket is not at my disposal (available separately for $19 in hardcover, or $7 paperback), I have seen the book-boasting at least five awards-and find it well worth the price given the colorful illustrations. The excerpts used in this presentation are taken from the July 1970 recording made in London, England. Each of the celebrated vocal cast conveys their roles radiantly, singing with passion and marvelous diction. The London Symphony Orchestra under Erich Leinsdorf's direction, and the John Alldis Choir are both splendidly recorded, maintaining the richness of the original analog recording. The complete opera is available on RCA 39498. There is little doubt that Leontyne Price was the artist to carry this role at this point in her career, though Birgit Nilsson also left an exquisite impression in her EMI excerpt recording on LP, given the sheer power, focus and dramaticism of her voice. It was, of course, Zinka Milanov who, more or less, set the standard on records [RCA 6652]. Price writes of Aïda: "She was my best friend operatically … I always felt, while performing Aïda, that I was expressing all of myself-as an American, as a woman, and as a human being." Price's personal closeness for Aïda is substantiated immediately in her first-act aria, "Ritorna vincitor!" and continues throughout the opera. Since the complete recording of Aïda was issued three decades ago, from which these excerpts derive, the recording has received myriad reviews. My comments, therefore, will be directed more at the overall pacing and quality of the spoken narrative. My experience with children indicates they are exceedingly sensitive to a half dozen factors, including the choice of opera, the setting, the clarity of the plot, the length of the musical excerpts, the level of language, and the delivery by the narrator, the latter especially important with this release. In selecting Aïda, RCA has made an excellent choice. Children are at least vaguely familiar with the opera's exotic setting (Egypt). It feels like a fairy tale, with princesses, kings, wars, and an earth-shattering resolution. The love-interest is there, but neither morbidly inward nor obsessively degrading, as one finds in the wondrous Carmen. Thankfully, the plot is clearly outlined, without an overabundance of confusing subplots or diversions. The overall pacing and length of excerpts, however, is more problematical. Realizing this is a controversial subject, I would point out that Aïda opens with an introverted three-and-a-half minute overture, about which the young listener has been told not a word. A long, five-minute narrative follows, which introduces the plot. Sadly, some young listeners will have turned away during those critical first nine minutes. Would not it have more effective to split the narration into two parts-before and after the overture-in order to give an image of the snaking motif and a lonely princess in exile? Fortunately, after this opening, the pacing is no longer a problem. We begin to hear the narrative spoken into the fabric of the music, for instance over trumpets or far-off priestesses. This light-handed overlay of narrative and music gives acoustic depth, and helps develop that "theater of the mind," which is childhood's greatest gift. In just over 67 minutes, the disc tells the story of Aïda compellingly. There are many haunting images, such as Aïda sitting by the river in the moonlight, or the crowd tossing rose petals before Radames' chariot. In terms of the narration, I would have liked to see an avoidance of general sentences such as: "But her beauty and noble bearing attracted great attention." Would not it be better to know the color of her skin and hair, or to "see" the sparkle in her eyes? While I am a firm believer in "high-level language," tactile, sensory words are infinitely better than abstract ones for children, such as "imagination, majestic, moving," etc. Delivery of the narration is no less important. I know from producing my own recordings that I struggle more with acting voices than with singers. Very seldom do I find singers who are natural storytellers. They have been trained in a style of diction and declamation that will project well in large opera houses. Taking these performing techniques into the intimacy of the recording studio can result in a style that children often take as being "talked at" rather than "invited in." As an adult, I was fascinated to hear a favorite singer's speaking voice; as a child, my daughter found it "too fancy." Often less is more in telling a story-with simplicity, warmth and complete self-effacement. The narrator must disappear as a character. This is a minor comment, but something that RCA might want to think about in future issues. In the end, of course, the magic is always in the music. I was captivated by RCA's foray into a child's presentation and would highly recommend the disc to those who want to bring a timeless classic to children at home, or in the classroom with the hope that RCA will continue to issue other operas in this kind of format. Excerpt used: Opening narration for the march.
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Aida:
Told by Leontyne Price
