Customer Reviews

Bellini - Norma / Joan Sutherland, Margreta Elkins, Ron Stevens, Clifford Grant, Richard Bonynge, Opera Australia

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

 

 

"Norma" isn't performed often, probably because it taxes its two main sopranos to the limit. In this 1978 Australian performance, the great Joan Sutherland, in the title role, is handsomely augmented by a young and fresh mezzo, Margreta Elkins, as Adelgisa. Together, they occasionally make the magic that's latent in Bellini's masterpiece. Sutherland is just ok in the famous "Casta Diva," but is awe-inspiring in the follow-up aria, "Fine al Rito." I've replayed this aria at least 500 times and I'm still thunderstruck at how La Stupenda is able to sing louder and louder, higher and higher, faster and faster, OVER the orchestra and chorus, without even breathing hard. Oh, how wonderful! But then Elkins makes her welcome appearance, and the full sensitivity and beauty of Bellini's lyrics shine. They are splendid together. Unfortunately, the quality of the video on my tape was just passable, and the sound was awful. But the performances are streets better than two Canadian versions with Sutherland (one on DVD) that I've also seen. Joan and Margreta, thou swell!

This recording is in 1978, and Sutherland just a bit past her amazing prime as the greatest coloratura soprano of our time, plus she was having a bad day. The high notes not brilliant, and "Casta Diva" is shaky and off key, and sounded pushed, much like Callas...instead buy the diva's 1964 Norma released by decca with Marilyn Horne as her equal partner.

Although the title role of "Norma" was the greatest one in Dame Joan's repertoire, few even of her most ardent fans (and I'm one) would maintain she gave her greatest performances in it. That honor is usually reserved for her roles in "Lucia," "Semiramide," or "Lucrezia Borgia." Nevertheless, hers was a supremely listenable, often beautifully sung Norma, and therefore, when she was in good voice, a memorable one.
In this Australian Opera production she was, happily enough, at her best. The "Casta Diva" excerpt on the recently released DVD "The Best of Joan Sutherland" documents this beyond dispute, and for this reason, I purchased the just released complete DVD of the work. I was eagerly expecting, at a minimum, an improvement in picture and sound over her later Canadian DVD performance. Consequently, it is with great regret I must point out that Kultur not only did not see fit to digitally remaster the video, but, worse, even succeeded (in my copy at least) in monumentally screwing up the audio, so that the sound drifts in and out of focus and tune. So poor is the sound that I'll defer reviewing the actual performance until I get a replacement to see if my current response is to a lone wayward disc, or if other parts of the lot are similarly afflicted. Once before, in a "Mikado" from the Australian Opera Company, similar and widespread audio transfer problems were reported on this website. I would be eager to hear that this is not the case with other copies of "Norma," so I hope any reviewers with successful copies will rate the work here and set me straight.
August 2, 2006 UPDATE. Today I returned my replacement copy of this opera to the retailer, who put it on his equipment and agreed after only a short period of playing that the sound was indeed grotesquely distorted. The problems I've experienced twice now can not be attributed to the deficiencies of a 1979 telecast. If the date were the problem, there'd be no explaining why the "Casta Diva" excerpt on "The Best of Joan Sutherland" is excellent, while the same aria on the DVD of the complete opera is in stretches nearly unlistenable. Furthermore, having had a friend play me the VHS performance of this "Norma" on Home Vision Video, I'd be at a loss to explain why the sound there is excellent throughout. In transferring this performance to DVD, Kultur or its affiliates bungled some or all of the copies. The company would do well to examine the release for quality control and very likely a necessary remastering.

This Norma is slightly better than the 1981 version, but far worst than her live recording and her 1964 studio recording with Horne.

This was an off day if this recording was recorded in 1978 as it said on the cover of my copy. The casta diva was droopy and pushed. The high notes not quite secure. The coloratura not accurate. It's not bad though, but not a hit.

However, if you want to hear La Stupenda when she was the reigning queen of bel canto, I would recommend the follow VHS tapes. The singing in those are magnificent.

The "Voice of Firestone" The "Bell Telephone Hour" The "Age of bel canto"

I wish I could have given it a 5 star. But alas it was not to be. Though La Stupenda was in better form than the later recording at the Met, she is already past her prime at 52 even though the notes are still within reach. She sounded thin at the high notes. But there are redeeming features - her characterization of Norma has improved over the years, and is as good here as in her 1972 recording with Tourangeau as Adalgisa, though her voice was not as good. If only they made a video of that performance.

As for Elkins, the Adalgisa here, she should be commended for her valiant efforts though she could not quite reach the high notes in the 1st duet with Norma. Stevens as Pollione has a small voice and appears to be struggling to keep up with La Stupenda. The filming gives the impression of a TV soap opera setting, and Bonynge's conducting was not spectacular.

By all means get this recording, on DVD, if possible, since it is the best performance of La Stupenda as Norma on video. But at the same time do not miss out on Caballe's splendid performance in Orange, France, where she was partnered by Vickers and Veasey.

Comparing a singer with the performer she no longer is, is a legitimate critical enterprise. Not of much use, however, to members of the audience who never knew her back when. I must admit that, to me, bestowing upon a serious artist a title like La Stupenda is identifying her with those Burlesque strippers to whose gyrations we once roared approval.
At any rate, allowing for the technical deficiencies of the sound, this appears to be a good way to encounter Bellini's Norma for the first time. If there are few glorious fireworks, there are hours of expressive singing well suited to the thrust of the production. I am not overly fond of period costumery, but that is an individual idiosyncrasy shared by only some viewers. The set is not likely to stimulate your imagination but is an adequate backdrop if one is not on unlimited budget.
Overall, therefore, as others have pointed out, a disc which might have been a lot better if properly engineered, but one that will certainly provide a welcome evenings experience.

I am surprised this DVD was ever released with such poor sound quality. As another reviewer or two mentioned, the sound fades in and out and there are times when you cannot hear Joan Sutherland's voice unless you wind up the volume only to be blasted backwards a few bars later when she sings loudly. It totally distracts from the listening and viewing experience. That said, Sutherland is in fine form, even if not her greatest Norma. Its a shame this opera is not performed more often as it has a lot of wonderful music. Elkins is an excellent singing partner with Sutherland and overall the cast is quite strong. My advice is dont buy this DVD UNLESS you are a BIG Sutherland fan, which will enable you to override the frustration with the sound and enjoy her performance.

Norma is my favourite opera together with lucia di lammermoor with Dame Joan Sutherland in the title roles and this dvd is great, i'm totally happy with it

First off, regarding the other reviewer's questions, no, his copy was not an anomaly, the sound quality is very inconsistent on this release, requiring the viewer to constantly fiddle with the volume, a major annoyance to be sure. But this is not the first time I have encountered this problem with productions from the '70's, and it in no way justifies a one star rating. Do I wish the sound quality were better? Absolutely. But am I glad I purchased the DVD despite its shortcomings? You bet. The performances are more than enough to counterbalance this flaw, particularly the performance of Joan Sutherland, the star of this(and any) show.

Like the concurrent Kultur release of Delibes' Lakme, this is a Joan Sutherland showcase all the way. The production was done on her home turf, the Australian Opera, the conductor here is the diva's husband Richard Bonynge, and the supporting cast lacks any big names. The advantages of this production over Lakme(which by the way is also worth owning) are a better group of singers overall, and a better performance from Bonynge and his orchestra. The tenor Ronald Stevens has a stentorian voice, he is superior in the brasher moments than in the more lyrical ones, but his performance improves over the course of the opera, and by the end he has proven himself a worthy Pollione, masculine and divided and ultimately noble. Margreta Elkins is a remarkable Adalgisa, her voice is strong and lovely and emotional, and it mixes well with Sutherland's in their multiple duets, creating a perfect unity of beautiful female vocalism. As for Bonynge, he might not be a great conductor all the time, but his style is perfect for the raggedy sound of the hardcore bel canto repertory, and he and the orchestra manage to bring out both the lyricism and the bombast in perfectly measured doses.

Which leaves us with Joan Sutherland. I am guessing that she was in her mid-fifties when this was recorded, but she shows no signs of vocal aging. Her singing is even more full-throttle than in Lakme, which was recorded a few years earlier. The biggest surprise, though, is her acting, which is often stilted, but here is brimming with life. She IS Norma...well, she had sung the role so many times prior to this, she must have had a lot of practice getting into the character, and, trust me, it shows. I felt for the heroine, not just because of the music, but because of Sutherland's presence, too.

The production is old-fashioned but effective. I especially like the darkness of the sets, the stony medieval ominousness. The picture quality is decent. The visual transfer is definitely superior to the audio one.

Norma is a good but not great opera. Some critics argue that if Bellini had lived longer, he might have achieved what Verdi achieved, but I see no evidence of this. Even very early Verdi, such as Nabucco and Ernani, shows an individuality of voice, a diversity of melody and musical ideas, and a youthful, restless emotional fervor lacking here. The music of Norma is consistently beautiful, but also a bit uniform and staid. Really, the only time it achives a Verdian moment of cathartic emotional release is the ending, which is quite powerful. Still, even very good bel canto is worth your attention, especially when it has great performers to do it justice. This Norma is elevated by the quality of its singers, particularly Joan Sutherland, one of the greatest "casta divas" of all time.

This is prime Joan Sutherland, and she is at the top of her form. This said, please remember that this is "bel canto" and do not expect a gripping plot or even anything remotely like real events in history. This is Bellini providing good voices a chance to really exhibit what they can do. The plot is downright silly. If you are not a real fan of great singing order something by Puccini. The sets and staging given this by Operal Australia is all it deserves. Just watch the singers, listen and marvel.