Customer Reviews

Bellini - Norma / Marķa Callas

5 star:		(25)
4 star:		(3)
3 star:		(2)
2 star:		(2)
1 star:		(1)

 

 

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.

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.

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.

Norma lay vacant for decades prior to Callas' efforts to ressurect both it and other Bel Canto works. If she were to be associated with just one role it would probably be Norma and this is a truly fantastic recording of the role (less so of the opera thanks to a lacklustre supporting cast). Her voice is still in it's prime, full blooded, fierce, daring, reckless and yes, beautiful. For those that hark on about the 'beauty' of Caballe, the technique of 'Sutherland'. Fine, whatever - but that is not what this art form is about and it is not what the composers of these works aspired to create either. It was about creating great theater. Norma is a woman like any other - Flesh and blood. Callas knew this. She also (at this stage) had a voice capable of superhuman technical feats that she uses in order to ring out every inch of emotional and theatrical fire. If you want to hear what Norma should be, what it's composers dreamed it to be, hear this recording by Callas. There were few if any before her capable of it and certainly none since. Also check out the 1953 Studio recording of Lucia - It is of similar benchmark status. To those who 'don't get' Callas. You won't find the answer in books, lessons or lectures. It is irrational, compelling and it is thrilling. Just Listen, and keep listening.

It may me Callas' best studio recording. She gives a wonderful, dramatic, hair-rising performance. She sings "Vanne sì, mi lascia indegno" in a manner no other singer can sing. Her "Deh, non volerli vittime" is superb. She easily outshines Sutherland and Caballe, in my opinion. The five stars are for her. Serafin's conducting is very good, too, giving freedom to the singers and maintaing a wonderful pacing that was his principal asset (Bonynge can't stand a comparison with him). It's a pity that the mono sound is so poor. As for the others in the cast, none matches Callas. Mario Fillipeschi as Pollione is thin-sounding, he forces a lot on the high notes. To me, Pollione is a role for a "heldentenor". Ebe Stignani sings very well, but isn't very characterful (and lacks a high C). Nicola Rossi-Lemeni is near a disaster, off-pitch and without control of his big voice (his "Puritani" rendition is much better). For Callas and Serafin, a winning set (and a very well documented one).

Being a music student, I am amazed at the fierce controversy generated by Maria Callas. I've studied recordings of great sopranos like Joan Sutherland and Montserrat Caballe, and I am humbled by their vocal abilities. But I find Maria Callas to be awesome. I find her more vocally expressive and colorful than any singer I've ever heard. Her ability to make the operatic text come ALIVE is amazing. I find this "Norma" to be a vocal document to be treasured. I admit that Callas sings here in a tomorrow-be-damned manner, but it's so thrilling! Let those who like mere singing listen to the more conventional sopranos. I prefer to have opera come alive the only way it can........ when Maria Callas sings! This lady operated in a different dimension than anyone else, and those who don't like her don't even know what she was about. I'm just BEGINNING to learn, and boy, do I love what I'm learning!

Opera is about passion or should be. Without it I'd rather be seeing and watching something else. This Norma is a perfect example of the best that opera has to offer. Callas reins supreme in being able to convey drama with her voice. What you don't see was her incredible stage presence which combined with her unique voice and role characterizations, made her an international star. The [...] negative critics who don't really "get" what Callas was all about really "don't get it". This controversey over her voice isn't new...it was around when she was in her heyday at La Scala in the 50's when these recordings were made. As to those who think that her mystique and her status as one of the great operetic icons of all time will fade over time as her fans "die out", I can only laugh. Callas is the reason many people get interested in opera, and that includes young and old alike. Her recordings only get more popular.

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. In Serafin this set has the greatest Bellinian conductor, much better than Muti, Levine or Bonygne who also conducted Norma-recordings.

~Estelle

I am an ex non-fan of Callas. I now love her. I just bought just about everything I can get my hands on with Callas on it. This one is one of the best. This Norma has everything to make it great! Callas sounds like a singing machine to me. What a voice she has here. It's wonderful that I now listen to opera with an open mind. I listen to now just a beautiful sound, but the entire package.

Although I have this CD and love it, I must express my fury with some of the people who have commented on this CD. The haughty reviewer who does not like this CD because he thinks opera is voice and he claims that only Sutherland had it. I too am a die-hard Sutherland fan and respect her voice's amplitude, agility, and purity. But we must remember that Joan would never have heard of some of these bel canto operas if not for the work of Callas. Also, Callas is almost flawless technically, unless one considers the loss of freedom above the staff a technical flaw. Her legatos are even more grand and seamless than those of Sutherland, her agility is amazing and more expressive than Sutherland's, and her tone is dark yet ingratiating. I even would go as far as to say that Maria Callas had a BEAUTIFUL voice. Combine these characteristics with a wonderful "audio"-presence and unmatched phrasing ability, and you have the ideal Norma. Just to keep everyone happy, I also have the 1964 Sutherland recording and love it too, but it should only be used as a supplement to this version, which is definitive. Those looking for somewhere in between Sutherland and Callas are pointed towards Renata Scotto, whose phrasing is as accomplished as Callas' though again the upper register is likely to cause a couple of grimaces.