40 of 40 people found the following review helpful:
5.0 out of 5 stars
Love Her or Hate Her -- You Can't Be Indifferent, August 18, 2003
This review is from: Bellini - Norma / María Callas (Audio CD)
I had a wonderful time reading through the 38 previous reviews, as they reflect everything I've heard about Callas in the nearly 40 years I have enjoyed opera as my favorite musical art.
Like some of the previous reviewers, I started out positively disliking Callas' voice, and perhaps was too green to appreciate the incredible dramatic insight she brings to almost every role she sings. Of course, I first heard her in the mid-1960s, when she was coming to the sad end of a very great career.
But as I heard more recordings of her work in the 1950s, I slowly became intrigued, then fascinated, and finally riveted by her performances, which I believe are the finest by ANY soprano ever committed to vinyl and, later, transferred to CDs.
Yes, I'm firmly of the school that opera is not just about voice. Opera is DRAMA WITH MUSIC, and no one has ever demonstrated that more theatrically or thrillingly than Maria Callas. That's not to say I don't love beautiful voices, and I understand why some people would prefer Sutherland or Caballe. These great singers, however, are lousy actresses, unable to penetrate the meaning of a text, unlike Callas, where the text fits her like a second skin. To borrow the old line about Rossini, they could be singing a laundry list and it would be indistinguishable from their operatic performances. They are just like John Wayne -- always themselves, regardless of the role.
I was interested in the couple of reviewers who preferred Christina Deutekom's recording of NORMA, which I haven't heard. But I did see the 1987 San Diego Opera production of NORMA starring Deutekom, and she was an unmitigated disaster -- far uglier in sound that any Callas hater could even imagine when they call HER voice ugly. And, she wasn't much of a stage presence either.
As to this recording, yes, it is the greatest NORMA that I've ever heard, although unfortunately I've never come across the 1955 version which some others say they prefer. I'd beg, borrow or steal to get a copy of that.
Help other customers find the most helpful reviews
Was this review helpful to you? Yes
No
37 of 37 people found the following review helpful:
5.0 out of 5 stars
Must Have Recording, July 30, 2003
This review is from: Bellini - Norma / María Callas (Audio CD)
This is one of the great opera recordings. Callas IS Norma. Her performance is breathtaking - portamento, trills, coloratura - all seamlessly integrated into the character. And she is in glowing GORGEOUS voice throughout! Opera newbies tend not to "get" Callas, partly because she is just too intense and doesn't sing in the more deadpan "modern" manner. The rest of the cast is OK - Callas' 2nd Norma has a much better cast overall. But this is the one to have. Deservedly ranked over and over as one of the greatest opera recordings. Period.
Help other customers find the most helpful reviews
Was this review helpful to you? Yes
No
33 of 33 people found the following review helpful:
5.0 out of 5 stars
There is only one Callas, December 11, 1999
By A Customer
This review is from: Bellini - Norma / María Callas (Audio CD)
Whatever virtues other Normas may have, there is only one great Norma-Callas. I would be the last to tread on Sutherland or Caballe but Callas is the greatest Norma ever, period. Superficially, her voice might sound abrasive and unfocused but if you listen deeper, her voice is extraordinarily expressive and has a beauty all its own. It is not the supple, bright Sutherland tone or the rich Caballe, but it has more feeling in one phrase than Sutherland and Caballe had in their entire lives combined. Listening to Callas sing Norma is an entirely different experience than anyone else. If you haven't yet found the genius in her, keep listening, it will come, and when it does, opera will forever be a different experience.
As to the present recording, it is her best Norma. Unfortunately though, her supporting cast is not very impressive. Mario Filippeschi sounds strained at times, but he has some good moments. Ebe Stignani, if not as good as Ludwig on Callas' 1960 recording, is fine. The conducting of Tullio Serafin is, as usual, exemplary. But what makes this THE Norma is Callas, no one will ever hold a candle to her.
Help other customers find the most helpful reviews
Was this review helpful to you? Yes
No
