Customer Reviews

Bellini - Norma / Sutherland · Horne · J. Alexander · R. Cross · LSO · Bonynge

5 star:		(51)
4 star:		(7)
3 star:		(7)
2 star:		(2)
1 star:		(0)

 

 

This was actually the first recording of Norman I ever owned ( refering to the Norma with Sutherland, Horne, Cross, and Alexander, not confusing it with the rerecording made with Pavarotti and Caballe ). I have worn out at least two copies of it. I also own three versions by Maria Callas ( one that includes Joan Sutherland as Clothilda ). I have also seen both artists perform this opera. Comparisons are really silly, as they approached the opera from different vantage points. However, like one hears in this recording, Sutherland always sang it beautifully and accurately. Callas is not represented truly on record, as in performance she was not consistant, and the first act ( in her recordings act one is divided into two acts ) she usually was not good at all, rather terrible, and the voice only came into its own later in the evening. However, in this recording, one is instructed in the art of bel canto interpretation. Sutherland adds embellishments to her arias ( some actually used by the creator of the role -- Pasta ), as was the custom at the time of its writing. She blends well with Horne, and together they create a wonderful atmosphere ( even if in the world premiere of the opera Pasta was more a mezzo and Grizi a soprano ). The only sad thing to me is the cutting of all the actually endings of many of the greatest duets and ensembles so high notes could be added. Bellini wrote some interesting music, that is never recorded, as postludes to these pieces. Still this recording is wonderful, and those who are not familiar with Norma will find this version easy to take, and enjoyable to listen to.

Is this the recording of the century? Certainly a great accomplishment as far as I'm concern. Perhaps not the drama of La Divina Maria Callas, but the epitemy of Bel Canto. This performance is what celebrates the beauty of the human voice. And not just Sutherland, but Marilyn Horne. I'm totally speechless. But also look for Maria Callas's great effort!

Joan Sutherland is beyond praise in this definitive recording of Norma. Her singing makes all the other Normas obsolete ( Callas, Caballe, Ponselle ). Only Sutherland sings the arias and duets in their original keys. Callas and Ponselle say that Norma is their most difficult role, yet they sing everything one FULL note lower than what was originally written. That is ridiculous! Imagine the Immolation Scene from Gotterdamerung transposed one note down. Or how about transposing Nessum Dorma from Turandot one note down. The result, of course is that it loses most of its excitement. Now imagine all of Norma's arias and duet one note up, the way it's supposed to be sung...the way Sutherland sings it here and during her prime on actual stage performances ( note: even Sutherland transposed Norma's music down in her later years, ie the late 1970's and 1980's ). Norma in the original keys is beyond the reach of Caballe and certainly Callas, but not for Sutherland and Horne, they had a field day with the higher keys! Listen to this Norma and you'll be amazed at Sutherland and Horne's showmanship and artistry.

I have about 10 recordings of Norma, including those with Sutherland, Callas, Milanov, and Caballe. This one is by far the best. Sutherland's voice is huge and flexible, and her command of fioratura singing is truely breathtaking. And what beautiful tone, just gives goose pimples. Horne as Adagisa is also memorable, her voice matches Sutherland's wonderfully. Their duets are just too beautiful for words. Like two violins blending perfectly. But don't take my words for it, buy this set and see for yourself what the golden age of song must have sounded like.

There are three Sopranos I consider to be the prima Donna's of the Century. They are Renata Tebaldi, Birgit Nilsson, and La Stupenda. Sutherland's interpretations are beautifully and technically mastered. The cast is great, especially with Marilyn Horne. I think that Carlo Bergonzi would have been a great Pollione, not to take anything from John Alexander. The overture is heart-stopping, and once you've caught your breath, if you don't die after hearing Sutherland and Horne, you should be ready to die during the final scene where Norma begs Oroveso to spare her children as she prepares to die.

you callas fans stay on your own sites ok? sutherland would have been bellini's choice to sing his bel canto operas... that is the bottom line..she has the perfect voice, and it's beautiful...more than I can say for callas's

With Sutherland and Horne together, all is well in operatic heaven. No two singers in memory blended so beautiful in their difficult duets. Opera is voice, bel canto is voice, and you get that with Sutherland and Horne, two of the greatest divas in this and any century. I don't agree with Joel about the drama lacking here. Sutherland's voice is much more expressive than Callas's. This is the definitive recording of Norma. Don't get the later version, Sutherland had lost her voice by about 1976.

I agree with the other critic about Sutherland being the vocal wonder of the world at the time of this recording(1964). I would go further after hearing this miraculous recording to call her the vocal wonder of all time. The voice is just opulent and huge. Even Marilyn Horne's voice sounds thin next to Sutherland's. She simply opens her mouth, and a gigantic high E-flat comes out with the greatest of ease. Note here that Casta Diva is sung in "G" instead of "F". Which is must more difficult, of course, because of all the sustain high notes. You have to hear it to believe it. Also, all the duets between the two divas were sung one full note above the written keys. This was done to demonstrate the phenomenal voice and technique that was Sutherland's. Opera is voice, and Sutherland has been called by Pavorotti as the greatest voice of the century. And this recording proves that. I respect Callas, but her voice and technique can't touch Sutherland's.

I see at least five instances of Callas's fans attacking Sutherland here. Why??? They are both great singers in my opinion. Each have their own merits. But I find it insulting that anyone will find Sutherland's olympian voice not thrilling. In fact, Sutherland is so thrilling that I must listen to this Norma at lease once a week. It is just too beautiful for words. Horne is also a joy to the ears. Yes, I think Sutherland and Horne will go down in history as the two greatest singers of the 20th century.

Forget Callas, Caballe, and Ponselle. Sutherland has it all in this Norma. The trills and coloratura are incredible. And the high notes unreal. No one can touch Sutherland in the art of bel-canto.