Customer Reviews

Bellini - Norma / Sutherland, Tourangeau, Bonynge

5 star:		(18)
4 star:		(3)
3 star:		(0)
2 star:		(3)
1 star:		(0)

 

 

This live performance "Norma" originates from the 1972 San Francisco opera season. The sound is perfectly acceptable and price is incredibly reasonable. In 1972 Sutherland's voice was in its most brilliant estate, and she could do anything she wanted with it, which is a whole lot. She is more sensitive and dramatically keen here than she was on her 1964 studio recording, and in infinitely better vocal condition than she was to be in 1984 when she did her second studio recording. She sings "Casta Diva" here in the original key of G, which enables her to climax the cavatina on the high C. She accomplishes this brilliantly. Moreover, she has an extremely accomplished Adalgisa in Huguette Tourangeau, whose voice contrasts beautfully with Sutherlands's. John Alexander is an excellent Pollione. It is Richard Bonynge whose work I appreciate here as well. I find his conducting superior to either of his studio recordings, and I find his stress of the harp in the soft section of the Overture and moon music after the call to battle to be close to perfection as is possible to achieve in this music. A very fine "Norma", with a Sutherland in prime condition. What could be better?

Yes, Joan Sutherland actually used some of her chest tone here. But the most exciting thing about this superset is Sutherland's coloratura and lucious voice. She is in total command here. The arias are sung with lots of emotions - an effect that she did not use in either of her studio recordings. My only complain is that the rest of the cast does not even approach her vocalism levels. But then, who else, but Horne and Pavorotti can approach these astronomical heights of glory?

Sutherland is very aggressive in this most brilliant of all her Norma recording. She almost overacts here, which is refreshing for the diva. And her rich, lucious sound is at it's very peak. Only Callas can approach her artistry here. But then, Callas in all her greatest did not have the astounding instrument that was Dame Joans. The Adagisa is also very good. But not as good as Horne. If you want to hear a Norma that puts all others to shame, I suggest you buy this one.

Norma is an opera that demands great breath control, a flawless coloratura technique, and a secure high soprano of remarkable beauty. Only one diva comes to mind, and it is the great Joan Sutherland. Absolutely no one can touch her here, and I dare anyone to prove that anyone has approached dame Joan's stupendous prowness here. I have the Sutherland/Horne set, and this one also, believe it or not, I like this one better, and why not?

Brava diva! Sutherland is spectacular here. In terms of acting and singing, no Norma can touch this one. Yes, better than BOTH the studio 1964 and the awful 1984 version. The Adagisa is far inferior to Sutherland vocally though. But then, with the exception of Horne, who doesn't pale in comparison to Sutherland's prime. Look at the price!!! BUY THIS!!!

This is a wonderful LIVE recording of La Stupenda's as Norma. She was at her late prime here, as soon after this, the phenomenal voice would be at its decline. I love this set for the excitement of a LIVE recording, with Dame Joan singing with a lot of emotions. The sound is not bad at all for mono. This is much better than the Callas LIVE recording in my opinion.

This is the only contribution that la stupenda had made that shows her in complete control of both vocal superiority AND theatrical drama. Sutherland is very dramatic here, using chest tones, and even screams, therefore projecting the tragedy of Norma. She almost parallels Callas here, but, with complete control of the vocal line that is incomparable. She does sing casta diva in the original key of G, which is almost impossible. The mezzo as adagisa also has the ability to sing the first duet in the much higher key that climaxes in C. This is superlative, much better than the classic cd with Horne. In other words, this is definitive. Only problem is that this is a live performance, and is not stereophonic. Otherwise a ten, at least.

I don't know what the other person who is reviewing this cd is listening to when he said that this Norma is not as good as Sutherland's earlier set. I think this Norma is actually Dame Joan's best. Perfect singing indeed. Sutherland has became my favorite singer. Buy this set!

To clear a former critic's dislike for the great mezzo Tourangeau, I must respond.

Tourangeau is the most famous mezzo in Canada. She has a large, beautiful voice that is well blending with Joan Sutherland. ...Tourangeau is also Dame Joan's partner in the spectacular recording of Massenet's "Esclamonde". And she nearly matched the diva note for note. I said nearly because in my opinion no one can match Sutherland note for note - at least none that I've ever heard. To me Dame Joan is the greatest dramatic coloratura of all time. And that includes Callas and Caballe.

Tourangeau is a very high Adagisa. She dares to match Dame Joan in this Norma in which all the arias and duets were raised one full tone, an accomplishment that all other Normas and Adagisas dare not do and that includes Callas.

The duets with Sutherland and Tourangeau are glorious. They blend like two strings in a violin. And Tourangeau has a powerful and steady high C that is even better than Horne. Her low notes are splendid also.

After their famous duets, you can hear the gigantic roar of the audience. This is because Sutherland and Tourangeau has achieve a feat that is rarely ever heard in Canada or anywhere else in the world.

Sutherland did not start poorly in Casta diva as one critic noted. Her high notes in Casta diva are spectacular and the cabaletta is brilliant. It is true, she is a bit out of breath in one verse of the cabaletta, but that is not at all distracting, but rather exciting, really. (She sang the cabaletta twice in record speed). The rest of the performance, Dame Joan hit not one sour note.

In the trio, Dame Joan completely dominates, as expected. She is very emotional and involve in this live Norma. Which is always how she sings live. Her diction is also commendable.(Why Dame Joan sometimes is droopy in her studio recordings I'll never understand, but I heard that it's because her enormous voice is hard to record, and she was told to sing softer). Well, she certainly does not sing softly here. There is a high D the size of a bomb that concludes the famous trio that soars over the chorus, the cast, and the orchestra that almost drowns out everyone. Dame Joan holds this phenomenal high D for about 12 seconds. And the audience goes bananas.

In the final duet with Pollione, Sutherland is as much the dramatic actress as I've ever heard her. I don't think I've ever heard such emotions from Dame Joan, ever. She shouts, screams, and uses deep chest notes to show her sorrow. She made me cry.

Of course, the last scene is glorious. Sutherland in 1972 had a gigantic dramatic soprano voice, and she uses it effectively to soar effortlessly over everyone much to myself and to the audience's delight. The climax is one of the most dramatic I've ever heard, even from Dame Joan.

This is Dame Joan's best Norma. I heard the one at the Met is also super, but I haven't heard that one yet. All I know is that this Norma is ten times more powerful than Dame Joan's famed 1964 recording with Horne. All the while, the great diva only lost a little of her awesome technique in that 8 years. The middle voice has even grown more solid, as the high notes remain the best in the world.

This is the greatest Norma I've ever heard. Hear it and you'll be a believer. I dare say to Sutherland's critics that the diva had matched Callas in the drama department in this 1972 Norma. All the while maintaining her breathtaking technique-taking all the high note options and holding them.

I also notice the price in this Norma. That certainly makes this the best bargain of all the Normas currently available. Bravissima, diva.

but still short of the one with horne, this one is close, however, and infinitely better than callas...