Customer Reviews

Bellini: Norma

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

 

 

This performance, recorded by Radio Italiana on June 29, 1955 is Callas at her finest. Nowhere is there a better representation of the diva in her most famous role. Dramatically and vocally, everything is in place. The rest of the cast is at their best, except Stignani, who gives a good effort but is audibly past her prime. Nonetheless, even she does nothing to detract from this masterful performance. Serafin turns in his best reading of the opera here, guiding the singers, orchestra, and chorus with a sure and knowing hand.

So why only one star? This issue by Opera d'Oro has terrible problems with pitch fluctuation, due most likely to a worn, stretched tape source. In order to disguise this, they've mastered everything almost a step and a half above what's written in the score so the slowest parts actually sound in the correct pitch. They should have made sure their origianl source was in better condition. Unfortunately, no one involved in the preparation of this release seems to have noticed and therefore have allowed an inferior product to be issued. In an age where historic issues of past performances are treated, for the most part, with the reverence and respect they deserve, this offering is unacceptable and not worth any price. If you want this particular performance of Norma, it is available from other labels in much better sound and is well worth the search.

Three legends in their primes: Callas, Stignani, del Monaco AND the great Serafin conducting! A MUST HAVE!

One's main priority when buying a Norma must be the prima donna. Sure, Pollione and Adalgisa are important characters, but neither can sustain the drama like a great singer in the title role can. Here we have arguably the most famous such diva to play Norma - the immortal and beloved Maria Callas. Although the high notes are occasionally hard and/or shrill, they are less so than in either of Callas's commercial recordings. Also, live with all restraints unleashed, she gives a dramatic performance that is simply stunning. Her "Casta Diva" and cabaletta manage to express feigned anger and determination, yearning, vulnerability and woe, and her efforts in the ensembles are scorchingly intense. But it is in the recitative that she really shines, as usual.

One must always think carefully about buying a CD with Mario del Monaco in. His blustery, unsubtle, loud performances can be immensely irritating. This is an exception however. He usually sings below his normal 150 decibels and even occasionally introduces some expression. The Adalgisa, Ebe Stignani, had really got past her prime at the time of this performance. Though still wonderful, she occasionally sounds tired, and in contrast with Callas, she sounds like Norma's mother.

Serafin's conducting is his usual amazing effort, but the sound can occasionally be a problem. Being a live performance, this must be suspected. But, unfortunately, the microphones seem to pick on poor Stignani's waning top, making it sound frankly awkward. Altogether, though not perfect, still well worth it for this price.

Bellini was a wonderful composer and Callas was a wonderful soprano AND this was probably her signature role for which she will always be remembered. In my mind she is the definitive Norma and whilst other great singers bring other qualities to the role, she really had it sussed.
So, with so many recordings available which is the best? Well, this is obviously down to personel opinion. I love this one probably more than all the others. Briefly, here's why. There are two great studio recordings, but they're not perfect - the earlier one with Fillipisci and and Stignani finds Callas in great voice, but Fillipisci is wooden and Callas takes less risks. It's less exciting than this one. The later studio recording benefits enormously from a wonderful supporting cast and fabulous sound and Callas isn't in too bad a voice in my opinion. However, she sounds so much fresher here with all the notes.
Then there's the '52 Covent Garden live performance. It's an interesting record, but the recorded sound is a little distant and there is a lack of intimacy and the Covent Garden audience essentially add nothing and sound incredibly uninvolved (polite would be a anicer way of putting it). Callas is in fine voice here, but perhaps not as confident dramatically or technically in the role as she is here.
There is the last Callas performance in the 60's when her voice struggled with the role.
Finally there is the live perfomance at La Scala, I think in the same year as this one. Not bad at all, and with Giulietta Simionato we have a great Adalgisa. For me, it doesn't quite gel as well as this one.
So, on to this CD. We have Stignani who many moan about as sounding old. Well maybe she does, but this is one hell of a voice and it's an a real pleasure to hear such an instrument even if it is towards the end of her career. Del Monaco doesn't do subtelty of course, but then it's a bt of a dull role and so at least he livens it up with volume and effortless high notes. And Callas excels. She is at the height of her powers dramatically and she can do whatever is required vocally. Wonderful in the set piece arias such as Casta Diva and bringing detail to the recitative as only she can. Powerful technically brilliant singing too at the end of Fine al rito...and scary in the showdown with Pollione at the end, not to mention toucing in the finale pleading with her father.
Finally, for me this has the best performance of Vanne, si, mi lascia indegno, uncut with both verses and a great top D finish.

To summarise, I think we are blessed with a number of fabulous Callas Normas. I suppose in an ideal world we would have Corelli and Ludvig partnering Callas live in 1954 with Serafin conducting...however this is a great compromise - I hope you enjoy it.

There are three Normas one MUST HAVE: Ponselle, Callas and Sutherland. All three are essential in different ways. This live-recording from 1955 shows why Callas is still regarded to be the greatest Norma of all time. Buy this, her live recording from La Scala, Sutherland's live recording from the MET plus the few Norma-Items as recorded by Ponselle and you'll be VERY happy.

Recently there have been issued two live sets with Maria Callas Norma - one by Gala and one by Allegro Music labelled Opera d'oro. Both sets cast Callas and Del Monaco, and differ Simionato vs Stignani, Votto vs Serafin. And both dated by one year - 1955.
Both performances are moving. Callas has better singing with Votto but with more tragic acting with Serafin. Del Monaco is too forceful with Votto and has better singing with Serafin. Simionato and Stignani both are excellent and very different as Adalgisa. To me Serafin conducting is more deep and tragic vs Votto conducting that is just dynamic.