The notes accompanying this set claim that it is "the first account ever of a complete opera by Verdi conducted by Karajan." Frankly, we might have guessed. As eccentric as the Austrian maestro became later in his career, if nothing else this performance documents the fact that he was equally as idiosyncratic earlier. The prelude takes five-and-a-half minutes as opposed to the usual three-and-a-half; my first instinct was that something might be wrong with either the master tape or my CD player. But weirdnesses in tempos appear elsewhere as well, with great contrasts--a strangely slow, ruminative section will suddenly be interrupted by what seems like a nervous twitch. This is not to say the entire performance is a conductorial dud; indeed, there are moments of great beauty, excitement, and clarity. But it is a loud statement about Karajan's not-quite understanding of Verdi's overall picture (Harnoncourt's new recording of the work is similarly, er, unconventional).

The singing is mediocre: Dragica Martinis has spirit as Aida but her Italian is terrible, she seems not to know the role all that well. Lorenz Fehrenberger is a dreadful Radames--almost a comprimario--and he, too, insists on pronouncing "questo" as "qvesto". Nell Rankin is a slim-sounding Amneris (she gained stature later in her career, but never was anyone's first mezzo choice in any role); and Giovanni Malaspina is at least an Italian Amonasro. The rest of the singers mean well. Orchestra and chorus are enthusiastic. The boxy, flat sound is clear but uninviting; the live audience obviously was bound and gagged or allowed out of its cells only at the end of acts. Unless you and Karajan are related, this is unnecessary.

--Robert Levine