Bellini - Norma / Maria Callas

Vincenzo Bellini (Artist), Maria Callas (Artist) | Format: Audio CD

Product Details

• Audio CD (June 6, 2000)
• Number of Discs: 2
• Label: Gala
• ASIN: B000001XN8
• Average Customer Review: 4.8 out of 5 stars  See all reviews (20 customer reviews)
• Amazon Best Sellers Rank: #81,353 in Music (See Top 100 in Music)
  • #9 in Music > Classical > Opera & Vocal > Divas > Callas, Maria

Track Listings

Disc: 1

1. Norma, opera: Sinfonia

2. Norma, opera: Act 1. Introduzione / Scena. Ite sul colle

3. Norma, opera: Act 1. Recit. Svanir le voci

4. Norma, opera: Act 1. Cavatina. Meco all'altar

5. Norma, opera: Act 1. Recit. Odi! suoi riti a compiere

6. Norma, opera: Act 1. Cabaletta. me protegge, me difende un

7. Norma, opera: Act 1. Coro. Norma viene

8. Norma, opera: Act 1. Recit. Sediziose voci

9. Norma, opera: Act 1. Cavatina. Casta Diva!

10. Norma, opera: Act 1. Recit. Five al rito

See all 19 tracks on this disc

Disc: 2

1. Norma, opera: Act 1. Trio. Oh di qual sei tu vittima

2. Norma, opera: Act 1. Perfido!... Or basti!

3. Norma, opera: Act 2. Introduzione

4. Norma, opera: Act 2. Recit. Dormono entrambe

5. Norma, opera: Act 2. Recit. Mi chiami, o Norma

6. Norma, opera: Act 2. Duetto. Deh! con te

7. Norma, opera: Act 2. Duetto. Mira, o Norma

8. Norma, opera: Act 2. Coro. Non parti?

9. Norma, opera: Act 2. Recit. Guerrieri, a voi venirne

10. Norma, opera: Act 2. Scena. Ei tornerà. Si

See all 18 tracks on this disc

Customer Reviews

Most Helpful Customer Reviews

43 of 44 people found the following review helpful:

5.0 out of 5 stars Thrilling live performance of Bellini's masterpiece, February 18, 2000

By 

Vincent Lau - See all my reviews

This review is from: Bellini - Norma / Maria Callas (Audio CD)

Although Maria Callas has made two fine studio recordings of NORMA for EMI, this live recording of a performance at La Scala in 1955 provides a much more thrilling experience for the listener despite its obvious sonic limitations.

Norma was one of Callas's greatest roles but the extra dose of adrenalin in this live performance may have made it probably the most intense of her Normas that have been captured on records. Compared with the two studio versions, Callas's interpretation of the part is more refined and feminine than in the earlier mono set, and she is in better vocal shape than in the stereo version. As always, she lavishes great attention on the text and is able to illuminate every phrase (including those in the recitatives) with meaning. She shapes Bellini's long phrases stylishly and elegantly and enhances their expressivity through the employment of a wide palette of tone colours and a broad dynamic range. Her control of rhythm, especially in florid passages, and her ability to integrate each phrase into an organic whole, are also evidence of her marvellous musicianship. On a pure vocal level, once her voice has warmed up during her first scene, she sounds totally comfortable in this most demanding role and her masterful handling of the roulades and those athletic sprints to the High Cs in "Ah, non tremare" are simply stunning. She is also able to heighten the dramatic impact by capping the trio with a stupendous High D, which she didn't attempt for her studio recordings.

The cast in this performance is also better than those assembled by EMI. Mario del Monaco, while not being a very subtle singer, makes a heroic Pollione. His clarion voice and confident singing renders him a good dramatic partner for Callas in their duets and ensembles. At the very least, we do have here a Pollione which sounds dignified and impressively authoritative, which cannot be said of many other interpreters of this role. Guiletta Simionato, in excellent voice, is in every aspect a wonderful Adalgisa. Not only is she vocally very secure (and capable of letting out a securely placed High C) and is able to provide a good match for Callas in their two extended duets, she also sings with considerable feeling and tonal warmth. There's also strong casting for the smaller roles and the La Scala chorus is quite good.

In the pit, Antonio Votto and the La Scala orchestra not only provide excellent support to the singers, their playing is also committed and passionate which, for example, contributes much to the white-heat intensity in the trio which ends the first act. In the more meditative passages, the playing is often elastic and beautifully moulded and thereby giving ample scope for the singers to make the most out of their vocal lines.

This is a grand and dramatic performance of Bellini's masterpiece and I would urge everyone to give it a try as the sonic limitations should not be too great an impediment for one to experience, on record at least, what was evidently a great night at La Scala.

25 of 26 people found the following review helpful:

5.0 out of 5 stars This is one of Maria Callas' most electrifying performances., April 23, 2000

By 

Jeffrey Harris "Jeff Harris" (Seattle, WA USA) - See all my reviews
(REAL NAME)   

This review is from: Bellini - Norma / Maria Callas (Audio CD)

There are other Callas and Del Monaco Normas. There are other Callas Normas also featuring Simionato. There are other Callas Normas with Antonio Votto conducting. There are other recordings of Callas performing Norma, live! There are other recordings of Callas performing Norma at La Scala in Milan. Adding to the confusion, there are also other Callas Normas recorded in 1955! Rest assured this is THE Callas performance; and it is the only one with all of those attributes!

Yet, there is a flaw in this GALA CD. GALA engineers saw fit to splice snippets from other Callas performances wherever tiny bits of static made them uncomfortable. Unfortunately, one such moment was when Callas sang, "Dormono entrambi", quietly over her sleeping children.

Okey, some folks may prefer GALA's substitution of another Callas rendition in better sound, but others will surely regret losing what may be Callas's most poignant singing that evening.

Since this special performance is availabile on at least three additional labels, it's worth the trouble to check which label you are buying. Avoid this GALA edition, and buy one of the three other labels that have released this recording if you want to hear one of Maria Callas' most memorable performance unedited.

19 of 19 people found the following review helpful:

5.0 out of 5 stars recording qualities or not, January 20, 2000

By 

Hartmut Beil (San Francisco) - See all my reviews

This review is from: Bellini - Norma / Maria Callas (Audio CD)

When I played this recording to a good friend she ask me "Did you record this yourself? That's how bad the record quality is. BUT. It was my first recording of NORMA I heard. I was in love immediatly. Mono ? Who cares if the stuff is good . Audiance noise ? That makes it soo authentic. One wishes to be part of that night. No, no it is far the best recording I have heard Bellinis Norma sungen. (I bought quiet more afterwards) It is a magic match of Conductor and Orchestra, the speed, the counter voices and the feeling you get when the audiance gets mad with a reason! I always regret that I never can be part of that performance. What a picture : A night in Milano in July 1955 , a traditional old fashioned opera building and eveyone around you suffers and weeps with her. What sound recording quality in the world can produce this picture ? There is more to it to make good recording. One has to consider the time and circumstances . Here we are talking 1955 ! This is a authentic copy of one night in Italy ! In "Mira, o Norma" it all comes to a point where one shakes and knows this is a different world one could see just for a glimpse. It really makes you "see" Maria Callas and Guiletta Simionato smiling when they set up to the next step of the duett. There are a bunch of very soulful recordings in my collection which are lacking the sound of stero and the like. But isn't the people you want to hear ? Not the studio where they recorded in. But to come to an end : This is the best recording of all times of Norma. It is outstanding and everyone who seriosly considers himself a friend of Opera has to have it . It is a must , it is a classic, a standard which is still in need of its successor.

Hartmut, San Francisco