This December 2006 Aida from La Scala offers some fine singing but as often happens in a Franco Zeffirelli staging, the scenery and directing vie with its purely musical aspects. Little wonder, given the sumptuous sets, spectacular crowd scenes, and the masses of scenic and acting details more common to a movie than a stage performance. Zeffirelli populates the La Scala stage with enough statuary to fill the Egyptian wing of a large museum. Huge busts of Pharaonic figures loom above the singers, a wall covering the back of the stage is full of detailed relief figures drawn from ancient Egyptian relics, and when singers, dancers, chorus, and extras populate the stage during the Triumphal March, it seems like all of Thebes turned out for the celebration. The Nile scene is relatively pared down while neatly suggesting the mystery of the scene and focusing attention on the dramatic confrontations of the principal actors. By the time we arrive at the final tomb scene, the dying hero and heroine are seen through the darkness while above them, the priests and priestesses of the Pharoah痴 court invoke their deity. But while the detailed stage direction and sets are important, any Aida requires four world-class singers to make its maximum impact. La Scala, as befits a season-opening performance, fields a worthy crew. Top honors go to the eponymous heroine, for Violeta Urmana demonstrates a soprano voice impressive in its evenness, her ease at the top of her range and her rich bottom notes. She won稚 make you forget her famed predecessors in the role, but she痴 definitely worth hearing. The same might be said of Roberto Alagna, the Radames. He left the production after the performances filmed here because of audience booing, but aside from a strained Celeste Aida his singing here is quite good, with sensitive phrasing and some lovely soft singing in the Tomb Scene.

The Amneris, Ildiko Komlosi, dominates the stage in her scenes as the imperious Pharaoh痴 daughter. Like her rival for Radames� affections, Aida, she won稚 erase memories of other fine Amneris� but she痴 a definite plus in this production. Less so is Carlo Guelphi, the Amonastro, rough of voice and generalized in his singing and acting. Smaller parts are capably done and the La Scala Orchestra is alertly led by Ricardo Chailly. He paces the opera with vigor, exposes details of the score often overlooked, and draws some ravishing playing from the strings.The ballet sequences are done with a Hollywoodish touch that fits the production, but the video direction of Patrizia Carmine will draw some boos from home viewers. There are frequent fades to swirling, out-of-focus details of stage d馗or, veils and materials, accelerating in later scenes to become annoying distractions, especially since they often occur in mid-aria, sabotaging the musical flow and diverting attention from the singers. Still, this is a worthy production of a great opera.--Dan Davis

Aida is an all-regions 2-disc set in 16:9 ratio. Sound options include PCM Stereo and DTS 5.1 Surround. Subtitles include English, French, German, Spanish, Italian and Chinese.