Aida

• 30 May1950 - Mexico City, Palacio de Bellas Artes - Callas, Baum/Filippeschi, Weede, Moscona, Ruffino, Sagarminaga; Picco
• 12 June 1951 - Rome RAI - Mancini, Filippeschi, Panerai, Neri, Massaria; Gui
• 10 January 1952 - Rome, Teatro dell'Opera - Stella, Lauri Volpi/Turrini, Bechi, Neri, Clabassi, Caroli; Capuana
• 4 June 1953 - Covent Garden - Callas, Baum, Walters, Neri/Nowakowski, Langdon, Mills, MacAlpine; Erede/Barbirolli
• 29 July 1954 - Rome, Teatro di Caracalla - Aimaro, Del Monaco/Vertecchi, Gobi/Silveri/De Falchi; Questa
• 7 August 1954 - Verona, Arena - De Cavalieri, Del Monaco, Protti, Neri/Rossi Lemeni, Majonica; Cleva
• 25 August 1954 - Bilbao, Teatro Coliseo Albia - Pedrini, Borso, Protti, Ferrin, Catania; Parenti
• 6 August 1955 - Verona, Arena - Stella, Zambruno, Gobbi, Vinco, Majonica; Molinari Pradelli
• 29 August 1955 - Bilbao, Teatro Coliseo Albia - Stella, Miranda Ferraro, Giangiacomo Guelfi, Neri, Washington; Quadri
• 25 August 1956 - Bilbao, Teatro Coliseo Albia - Mancini, Filippeschi, Ausensi, Vinco, Ferrin; Quadri
• 29 September 1956 - Tokyo, Takarazuka Theatre - Stelli/Bertolli, Borso/Puma, Gg. Guelfi, Cava; Giu/Verchi
• 23 October 1956 - Osaka, Takarazuka Theatre - Bertolli, Borso, Gg. Guelfi, Cava; Giu
• 7 December 1956 - La Scala - Stella, Di Stefano/Corelli, Gg. Guelfi, Dondi, Zaccaria; Votto
• 26 January 1957 - Rome, Teatro dell'Opera - Cerquetti, Corelli/Vertecchi, Gg. Guelfi/De Falchi, Marcangeli, Neri, Dari; Santini
• 15 May 1957 - Vienna State Opera (La Scala) - Stella, Corelli, Protti, Majonica, Zaccaria; Votto
• 14 March 1958 - Palermo, Teatro Massimo - Curtis Verna, Mirranda Ferraro/Vertecchi, Colzani/Spatafora, Modesti, Ferrin; Zino
• 24 May 1958 - Vienna State Opera - L.Price, Guichandut, Weber, Protti; Karajan
• 9 September 1958 - Vienna State Opera - Nilsson, Di Stefano, Zaccaria, London, Koreh; Karajan
• 24 November 1958 - Chicago Lyric Opera - Rysanek, Bjorling, Gobbi, Wildermann, Kenneth Smith, Vellucci; Sebastian
• 29 April 1959 - Vienna State Opera - L. Price, Usunov/Puma, Protti/Paskalis, Kreppel, Welter; von Matacic/Erede
• 22 June 1959 - Vienna State Opera - Tebaldi, Fernandi, Gobbi, Frick, Welter; Karajan/Votto
• 11 September 1959 - Vienna State Opera - Davy, Bergonzi, Gobbi, Kreppe, Ferrin; Karajan
• 18 February 1960 - Metropolitan - Amara/Stella, Bergonzi/Baum, Sgarro/Flagello, Guarrera/Lisitsian, Scott/Moscona; Cleva
• 14 April 1960 - La Scala - Nilsson/L.Price, Miranda Ferraro/Puma, Ghiaurov/Vinco, Zaccaria, MacNeil/Meliciani, Ferrin; Sanzogno/Tonini
• 10 June 1960 - Vienna State Opera - Rysanek/ L. Price, Ottolini/Miranda Ferraro, Bastianini, Frick, Guthrie/Weber; Karajan/Molinari Pradelli
• 21 July 1960 - Verona, Arena - Stella/Maragliano, Bergonzi, Gg. Guelfi, Vinco; Gavazzeni
• 9 September 1960 - Vienna State Opera - L.Price, Bergonzi, Bastinanini, Frick/Zaccaria/Kreppel, Guthrie/Walter; Von Matacic/Karajan/Erede
• 17 October 1960 - Chicago Lyric Opera - Roberti/L. Price, Bergonzi/Ottolini, Merrill, Mazzoli; Votto
• 5 November 1960 - Metropolitan - Rysanek/Curtis Verna, Bergonzi/Fernandi, Colzani, Tozzi/Wildermann/Giaiotti/Siepi; Verchi
• 26 May 1961 - Budapest, Magyar Allami Opera House - Takacs, Simandy, Jambor, Meszaros, Antalfly; Gardelli
• 5 June 1961 - Vienna State Opera - L.Price, Vickers, Bastianini, Kreppel/Zaccaria, Guthrie; Cluytens/Karajan
• 3 September 1961 - Vienna State Opera - Davy/Nilsson/Arroyo, Vickers/Bergonzi, Bastianini/Hotter; Von Matacic/Klobucar/Karajan
• 23 September 1961 - Hamburg State Opera - Lang, Tobin, Winters, Van Mill; Kulka
• 13 October 1961 - Tokyo, Metropolitan Hall - Tucci/Heredia, Del Monaco/Lo Forse, Protti/Gg. Guelfi, Washington; Capuana/Morelli
• 2 November 1961 - Osaka, Festival Hall - Tucci, Del Monaco, Protti, Washington; Morelli
• 20 March 1962 - Bernard, Limarilli, Christoff, Protti, Walter; Karajan
• 2 July 1962 - Rome, Terme di Caracalla - Stella/Mancini, Bergonzi/Limarilli, Protti, Vinco/Arie; Gavazzeni/Annovazzi
• 23 September 1962 - Vienna State Opera - L. Price, Usunov, Bastinanini, Frick, Welter; Karajan
• 20 November 1962 - Metropolitan- Amara/Tucci, Corelli/Konya, Ruzdak/Merrill, Tozzi/Siepe; Santi
• 3 June 1963 - Vienna State Opera - L. Price/Rysanek, Usunov/MacCracken, Bastianini/London, Kreppel; Von Matacic/Molinari Pradelli
• 24 July 1963 - Verona, Arena - Tucci/Gencer, Limarilli, Gg. Guelfi, Giaiotti, Zerbini; Serafin
• 10 September 1963 - Vienna State Opera - Stella, Bergonzi, Taddei, Welter; de Fabritiis
• 6 October 1963 - Vienna State Opera - Tucci, Usunov/Guichandut, Vinco, Protti/Taddei, Welter; Karajan/Santi
• 4 February 1964 - Covent Garden - Vishnevskaya, Vickers, Shaw/Glossop, Robinson; Balkwill
• 18 May 1964 - Vienna State Opera - Bernard, MacCracken, Kreppel, Protti, Welter; Santi
• 14 June 1964 - Vienna State Opera - L. Price/Shuard, Labo/Usunov, Bastianini, Zaccaria, Welter; Karajan/Santi
• 2 November 1964 - Covent Garden - Tynes, Craig, Shaw, Robinson; Loughran
• 20 February 1965 - Teatro San Carlo, Naples - Maragliano, Bergonzi, Colzani, Ferrin; Previtali
• 23 April 1965 - Boston, Hynes Auditorium (Metropolitan) - Curtis-Verna, Corelli, Guarrera; Adler
• 1 May 1965 - Cleveland, Public Auditorium (Metropolitan) - Curtis-Verna, Corelli, Guarrera; Adler
• 22 May 1965 - Minneapolis, Northrop Auditorium (Metropolitan) - Amara, Coreli, Mittelmann, Flagello; Adler
• 25 May 1965 - Detroit, Masonic Temple Auditorium (Metropolitan) - Curtis-Verna, Corelli, Bardelli, Flagello; Adler
   

Photographs

The conception of one of her greatest roles: Simionato's first ever Amneris, Mexico City 1950	At the Metropolitan, New York, 1960	At Covent Garden, London, in 1964	One of her final portrayals of Amneris, at the Teatro San Carlo in Naples, 1965	The LP cover of the celebrated DECCA recording conducted by Karajan	The very essence of the haughty Princess; Simionato as Amneris

 

Recordings

• 1951 CETRA - Mancini, Filippeschi, Panerai, Neri, Massaria; Gui
• 1958 DECCA - Tebaldi, Bergonzi, MacNeil, Corena; Karajan
• 30 May1950 - Mexico City, Palacio de Bellas Artes - Callas, Baum, Weede, Moscona, Ruffino, Sagarminaga; Picco [Note: this is Simionato's debut in this opera]
• 3 June 1950 - Mexico City, Palacio de Bellas Artes - Callas, Baum, Weede, Moscona, Ruffino, Sagarminaga; Picco
• 4 June 1953 - Covent Garden - Callas, Baum, Neri, Walters; Barbirolli
• 7 December 1956 - La Scala - Stella, Di Stefano, Gg. Guelfi, Dondi, Zaccaria; Votto
• 21 April 1960 - La Scala - Nilsson, Miranda Ferraro, Ghiaurov, Zaccaria, MacNeil, Ferrin; Sanzogno
• 13 October 1961 - Tokyo, Metropolitan Hall - Tucci, Del Monaco, Protti, Washington; Capuana
• 1 December 1962 - Metropolitan- Tucci, Konya, Merrill, Siepe; Santi
• 3 June 1963 - Vienna State Opera - L. Price, Usunov, Bastianini, Kreppel; Von Matacic
• 4 February 1964 - Covent Garden - Vishnevskaya, Vickers, Shaw/Glossop, Robinson; Balkwill
• 1 May 1965 - Cleveland, Public Auditorium (Metropolitan) - Curtis-Verna, Corelli, Guarrera; Adler [Note: After this performance, Simionato was only to sing the role of Amneris twice more]

Reviews

• June 1953 "Giuleitta Simionato is an Amneris to treasure, whether in love, or scheming or remorseful, and quite unflinching in her high As and B flats in her Act IV scena" Alan Blyth reviewing the recording of this performance which he actually attended live, Gramophone, April, 2005
• December 1956 "The accepted hierarchy for listing the cast of this opera would have Simionato (Amneris) mentioned third, but her place is at the top. The stylistic of mastery of this mezzo-soprano has reached such a degree of refinement, together with her vocal means, that for some years now she has been writing the book on how to sing." Massimo Mila, L'Espresso, December 16, 1956
• February 1964 "[Like] those seeded players who cunningly husband their resources and strike only when their opponent is worn out, she at first used her voice with restraint that came close to parsimony. But nothing ever caught her on the wrong foot, and in the last act she was able to unloose a series of volleys so formidably and unerringly placed that her opponent was outclassed." Observer, February 16, 1964
• February 1964 " She moves little, gestures sparely - only the eyes smoulder - and when suddenly her passion a breaks out the effect is thrilling. She is not merely majestic and dignified in a Stignani-like way, but positively eloquent in her stillness." Opera, April 1964
• 1964 Bell Telephone Hour - Judgment Scene with John Vickers "Looking like an Egyptian column in a skin-tight gold-lamé gown, the mezzo sings with a smouldering intensity that is full of sensuality beneath an edge of betrayal. There is, unfortunately, only one real closeup, and it speaks volumes about Simionato as an actress (she was magnificent)." Ira Siff, OperaNews, January 2001
• "Nor will anyone forget how, with unrivalled vocal grandeur and, not incidentally, the highest elevator shoes ever to tread the boards, she made Amneris a formidable rival for any -- repeat, any -- Aida." Martin Bernheimer, OperaNewsa, March 2001

 

Anecdotes

• Simionato's affinity with the role of Amneris is important to stress. She sang the role every year for sixteen consecutive years, in approximately 52 productions. In 1960 alone she sang Amneris in seven different productions and six in 1961. She was lauded in the role by fans, critics and colleagues alike (she sang in 8 different productions under Karajan alone, and recorded it in the studio with him), numerous live recordings of her performance in this role survive in addition to her two studio recordings of the opera and a film document of the 1961 Tokyo performance is also available.
• Singing Amneris in Japan in 1956 Simionato won many fans including a taxi driver who told her "I was so moved by your voice, you don't owe me a thing!"
• The production of Aida in October 1960 at the Chicago Lyric Opera was greatly anticipated in that city and the warm feeling directed towards La Simionato from the public  so great that it was reported upon by the Italian press who did not fail to notice that it was their mezzo who received the the most applause, even though the soprano was American.
• While preparing Amneris in Budapest in 1961 there was so much joy and excitement that the entire staff of the theatre gathered onstage for the first rehearsal, upon seeing the tiny Simionato enter there was astonishment and almost disillusionment until she began to sing and at once they realised that vocal stature cannot be judged on physical appearance, the artistic director noted the transformation "at the first note of music we saw the singer grow and rise up like a column into heaven!"
• Simionato who was always sensitive regarding her small stature had 14cm (5 1/2 inch) platform shoes made for a particular performance of Aida. They did not pass unnoticed.
• The former Superintendent of the San Carlo theatre in Naples remembers Simionato's final Amneris in his theatre, her furious singing in the Judgement scene, her elegant figure in a tight lame dress, and also the fact that she had a 39-degree fever, a fact which nobody on stage or in the audience detected.