Customer Reviews

Bellini - Norma / Maria Callas, Ludwig, Corelli, Zaccaria, Teatro alla Scala, Serafin

5 star:		(62)
4 star:		(7)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

This is still my favorite recording of "Norma". By the time this stereo recording was made in 1960, Callas was already well into the vocal difficulties that five years later brought her career on the opera stage to a end. The uppermost regions of her voice, as heard on this recording, do not fall pleasantly on the ear. The top notes are never secure, much less beautiful. But Callas could still, even in 1960, do some wonderful things with her voice, which still was capable of some amazing things. Her Norma has become much more human than was the case on her previous 1954 monophonic recording (also available), and her phrasing is more beautiful as well. While it cannot be denied that Callas was much more vocally secure on the earlier recording, nor can it be denied that she actually accomplishes something even greater here. The supporting cast of this 1960 "Norma" is much finer than that which was encoountered on the earlier recording. Franco Corelli is a fabulous Pollione, his glorious voice flowing like liquid lava, and in the final scene, meets Callas head on, and on equal ground. Christa Ludwig is a youthful sounding Adalgisa, contrasting well with Callas' more mature vocal timbre. Nicola Zaccaria is a sonorous Oroveso. Tullio Serafin remains for me the greatest of the "Norma" conductors. He shapes a performance that is beautiful, lyrical, yet intense and dramatic. So..... if you can forgive Callas for her declining top notes, you will find beauties here that you will find on no other recording of "Norma".

Some people have a funny view of perfection. In Opera, for instance, if you rate musicality, vocal range, characterization, power, beauty, intelligence, and the concept of the entire role as important elements. Then, for me, Callas is the greatest or most perfect singer of the recorded era! (O.K. her voice is not beautiful, but what a voice; who else could/can integrate all that other stuff on such a sublime level?) She gave us definitive versions or interpretations that almost all other sopranos have to contend with; La Traviata, Tosca, Aida, Turandot, Un Ballo in Maschera, Anna Bolena, Lucia, La Sonnabmbula, and etc. Do you wish you had a recording of her Fidelio in Athens? You bet. And I don't think it's controversial to claim that her Norma is her greatest role, and she unleashes on us a monumental portrait of a warrior Priestess.

Parenthetically, another plus about Callas' recordings/performances is that it's difficult to find a set that doesn't have a stellar cast and a great conductor. (I could do without the conductor involvement with all the Price/Leinsdorf collaborations, alas.)

This Norma is fantastic, from everyone concerned, conductor, soloists, and chorus. The conducting is brilliant, sensually intense and Serafin has an eye/ear for the structure of the whole work. The duets and trios are cataclysmic and the last is act heart wrenching. Zaccaria the bass, what a beautiful big sound, and his legato line is a marvel. Ludwig's voice sounds fresh, warm, and rich, and her acting is tender and dramatic. The young Corelli blazes passionately with a beautiful ringing voice. His sound reminds me of a perfect blend of Pavarotti and Domingo, but he is more exclamatory, Mediterranean bravado personified. And Callas is, in a word, formidable! And I mean as an artist, not only the size of her voice!

Several years ago, I made a cross-world move, and I wanted to go with as little luggage as possible. I sold, for almost nothing, some four hundred Classical and Opera CD's, you should have been there! But I took with me only five pieces, almost the perfect deserted island scenario, one of the works was Turandot with Mehta conducting, the other was this Norma! This version of Norma is the one to have.

Another version is a live recording with Callas (in the best form I have ever heard her), Simionato, Del Monaco, and Zaccaria all red hot, at La Scala, in 1955. Complete with an idiot in the audience shouting BRAVA TEBALDI after Casta Diva, then hold on and just listen to the sparks, more like a blow torch, or guided missiles fly from there on out! WOW!

This 1960 performance has been at the storm center of controversy since it's original release in the early 1960's. Yes, Callas' top notes had become a real issue by this time in her career, and there were those who just couldn't cotton to the unsteadiness that was so obvious in the uppermost notes. The rest of the voice, however, actually gained a new eveness and an autumnal glow that was heretofore not heard. Whatever the case, Callas was too great an artist to be dismissed as anything less than that, and those, like myself, who still cherish the vocal fluidity of Sutherland and Caballe in this opera, must yield to the fact that Callas had something very unique and special to bring to this opera (and so many others!). For those who place prime importance on vocal emission, then the Sutherland or Caballe' approach to Norma is decidedly for you. They sing the role with great mastery and vocal beauty. But if you are interested in NORMA, this is the version for you. Moreover, Callas has a very strong supporting cast. Christa Ludwig, while perhaps not as suited to the idiom as was Marilyn Horne on the first Sutherland version, still sings a beautiful Adalgisa. Franco Corelli, then at the dawn of his career, turns in a stentorian Pollione, superior even to Domingo's on the Caballe' recording. Nicola Zaccaria is a wonderfully paternal Oraveso, and Tullio Serafin remains the best "Norma" conductor on records. No. This performance isn't for everybody. A canary fancier will probably find this Norma to be wanting, but many others will find beauties and all sorts of musical subtleties here that will be encountered nowhere else.

This is the second of Maria Callas' two studio recordings of Norma, the role with which she was probably most identified in her career. Several other live complete sets from her great vocal years exist as well, so there is a lot of choice.

The version at hand has the advantage of being Callas' only complete Norma [though traditional "stage cuts" are taken] in stereo. She also has a strong supporting cast, with Christa Ludwig singing securely and comfortably as Adalgisa and Franco Corelli properly stentorian as Pollione. Tullio Serafin's conducting is as authoritative as ever.

What keeps this from being a definitive choice as _the_ Callas Norma to have is the state of her voice. By 1960, her decline had begun, and the unsteadiness on loud top notes is undeniable, particularly the high C at the end of her opening scena. Just as undeniable is the beauty of the many passages that do not involve high notes, the authority of the phrasing, the almost unbearably moving expression Callas brings to the great scenes such as "Dormono intrambi," "Mira, O Norma," and "Deh, non volere vittime [the final scene]." Ardoin and others are correct in saying that, as a complete portrait of the character and the woman this Norma is the finest of Callas' recorded versions. However, to hear what made Callas' Norma so astonishing as a vocal phenomenon her earlier versions must be explored as well.

I've done a project which consisted interviewing opera-experts in 13 countries, it contained the question "Which Norma springs to mind immediately?" Of over 150 people asked 134 said "CALLAS!", 8 said "PONSELLE!" five said "SUTHERLAND!" and three said "MILANOV!". When asked for further explainations it was said that Callas put a stamp on this role that will never vanish. Edita Gruberova mentioned her nervousness when it comes to tackling Norma because this role "belongs" to Callas. Caballe voiced similar fear and worked with Callas on the role. (Caballe said that Callas was the sweetest, most precious advisor she ever had) Callas then gave Caballe the earrings she had worn during her greatest performance of Norma, the La Scala opening in 1955. (A live-recording is available) Here we can hear how right such titans as Caballe and Gruberova are. Callas owns the role of Norma. Critics, colleagues and a faithful audience (It's now 40 years ago that Callas sang her last Norma) prove it. This Norma is essential, better than the earlier studio-recording because Callas sounds even more refined and noble, Corelli is superb and Ludwig is amazing. In Serafin this set has the greatest Bellinian conductor, much better than Muti, Levine or Bonygne who also conducted Norma-recordings.

~Estelle

It amazes me that all of these "former opera singers" have fallen into the trap of the "pretty voice". Apparently they never studied drama along with their vocal lessons. Lets settle this-First, Maria Callas was a great singing ACTRESS! Second, she had a BEAUTIFUL voice. Be fair. Get past your Sutherland fixation and listen to Callas with an open mind. You will find her voice thrilling, unique, and BEAUTIFUL!

I am a doctor, being listening to Madame Callas for many years. Never in my life have I found a qualificative for her voice better than this from the back cover's comment in an EMI's old record, where it was qualified as BRILLIANTLY BEAUTIFUL. And that is the way it is. Throughout her career, even in her late years, like this 1960's Norma. I fully agree with the expert comments in the inlay booklet, because considering that her achievements in terms of high notes are beginning to decline, and the voice was not as full as in her early years, the interpretative values and its CHARM are everyday greater. Caballe in Norma sings like Alicia Alonso floats in the forest air, but she is not Norma. Sutherland is good, Tebaldi is magnific, but CALLAS is NORMA. And in this record more than in the previous one, dating from 1954. Some people say that Corelli is the main feature in its success. I say the success will be the same, whether Corelli, di Stefano, or Kraus. But what happens is that human beings are always looking for the spots in the sun: the sun will shine forever, in spite of its spots, and whether people like it or not...

Maria Callas in what was arguably her greatest role - this
is her second studio recording of Norma made in 1960 and
though only 37 at the time there are undeniable signs of
vocal wear yet that inimitable sound of hers so distinctive
and penetrating and her unique way with words and music make
for a highly compelling performance. The casting of Christa
Ludwig as Adalgisa seems a bit wild but it works wonderfully
well - she brings considerable warmth to the role and blends
beautifully with Callas in their duets. Franco Corelli is a
dashing Pollione - his last act duet with Callas "In mia man"
is hair-raising. Nicola Zaccaria is a noble Oroveso. The score
is masterly conducted by veteran Maestro Tulio Serafin and the
sound is excellent.

There have been several great artists whose names will be eternally linked with a specific role: Ezio Pinza and Don Giovanni --- Kirsten Flagstad and Isolde ----- Leontyne Price and Aida -------- Tito Gobbi and Rigoletto ---- and Maria Callas and Norma. In such instances, operatic art can go no further. Enshrined on two studio recordings (and countless live performances), the Callas Norma stands as a shining beacon in today's operatic era. This particular recording finds Callas at her most searing and poetic. A few insecure top notes cannot begin to topple what amounts to a performance so far beyond that of anyone else in this difficult role, that comparisions seem futile and silly.

When you hear this recording of Callas' Norma and compare it to her previous one (with Stignani and Filipeschi), two things stand out: this performance's stronger cast and Callas' growth in the role. Even though you can feel she's not what she used to be vocally speaking she feels the part with such grandeur that you can excuse the mishaps. Caballe's and Sutherland's Normas are beautiful but I must confess that only Callas can move you with her innate dramatic sense and that special coloring she puts into each word. And to be very honest, if she abuses the chest register I don't mind. I think it gives depth and dramatism to what other singers, in their properly stylistic way, would just beautifully sing, forgetting that opera is and can be drama.