Customer Reviews

Bellini: Norma (complete opera live 1952) with Maria Callas, Mirto Picchi, Vittorio Gui, Orchestra & Chorus of the Royal Opera House, Covent Garden

5 star:		(13)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(2)

 

 

It's nice that EMI has given this 1952 performance a legitimate presentation. At the time of this live performance,
Callas was not yet thirty, vocally spectacular, and on the verge of the most spectacular operatic career of the century. The Callas heard here is the heavy-set woman of the early 1950's, with a full dramatic soprano capable of negotiating the most intricate coloratura. Her Norma at this point had yet to acquire the subtle nuances of later (and less vocally reliable) years, but there is no question of the complete security of her voice. She is partnered here by the veteran mezzo Ebe Stignani, who to my ears sounds aged and matronly for the youthful role of Adalgiza (how she managed to sound so much better three years later in the RAI performance, also with Callas, is something I will always wonder about). The tenor is adequate - certainly not in the Del Monaco-Corelli class. The sound, surprisingly enough, is pretty listenable. Make no mistake, I am giving this recording five stars for Callas, and for many, that will be more than enough reason to purchase, listen, and to value this recording.

I think this is a great live-recording, esp. the duet "Mira o Norma" and the final scene are very beautiful. I like it more than Callas'studio-Normas... I'd recommend it!

Norma had not been sung at Covent Garden since Rosa Ponselle's glorious performances until Callas arrived in 1952 and triumphed incredibly. Joan Sutherland, later to be a great Norma and the sweet Clothilde on this set, describes how she stayed close to the stage to listen to the "incredible beauty of Maria's and Ebe's singing". Sills said she took Callas' singing as a role-model for her own Norma, as did Caballe and Sutherland. (They all said it, it can be read and heard in many sources) Sills adored Callas so much that she said "I'd rather have five years of Maria instead of twenty of myself". Of course she would never have done that but it's a sweet, respectful gesture towards the older colleague and inspiration. This Norma will take your breath away. If Joan Sutherland was satisfied, then you will be too!

I should start by saying that I am a big Callas fan. I own another 4 of her portrayals of Norma and was keen on hearing how she handled the role a little earlier in her career. I was a little surprised by the vocal harshness here given that around the same time she recorded a wonderful version of Bellini's I Puritani in which I think she is captured at her absolute best. For a relatively early Norma recording I was expecting a little less of a complex character and indeed I feel this is the case when compared to her later recordings. (Even though her first Tosca recording also around this time is wonderfully complex and full of detailed character study). In my opinion even by 1955 she had added a lot to the role. The recording with Callas, Stignani and del Monaco in Rome is the absolute best. In this we have Callas in great voice, a good recorded sound, great performances from the supporting cast (yes Stignani a little old, but still wonderful) and a great conductor really milking the opera for all it's worth. Callas hits all the top notes with a great finale to the end of Act 2 (uncut as compared to many of her other recordings, including studio ones), the best on disc in my view. I also love the second studio recording she made with Corelli and Ludwig. Here the recorded sound is wonderful and despite the later time in Callas' career I find her voice more pleasing than in this live recording. Perhaps this is due to the poor sound quality here adding to the harshness one experiences.
If you are a Callas fan then you'll probably find any recording of this, one of her signature roles, interesting. However, if you are keen on just purchasing a great copy of Norma then I would recommend the 1955 recording as a great live option and then either of her 2 studio recording as an alternative, not forgetting the Sutherland option to hear the opera in all its correct keys for those of you who are bothered by such things!
We are lucky to have a such a wide variety of great recordings to choose from.

I've done a project which consisted interviewing opera-experts in 13 countries, it contained the question "Which Norma springs to mind immediately?" Of over 150 people asked 134 said "CALLAS!", 8 said "PONSELLE!" five said "SUTHERLAND!" and three said "MILANOV!". When asked for further explainations it was said that Callas put a stamp on this role that will never vanish. Edita Gruberova mentioned her nervousness when it comes to tackling Norma because this role "belongs" to Callas. Caballe voiced similar fear and worked with Callas on the role. (Caballe said that Callas was the sweetest, most precious advisor she ever had) Callas then gave Caballe the earrings she had worn during her greatest performance of Norma, the La Scala opening in 1955. (A live-recording is available) Here we can hear how right such titans as Caballe and Gruberova are. Callas owns the role of Norma. Critics, colleagues and a faithful audience (It's now 30 years ago that Callas sang her last Norma) prove it. This Norma is essential. In Gui this set has one of the greatest Bellinian conductors, much better than Muti, Levine or Bonygne who also conducted Norma-recordings.

~Estelle

I've never heard anything more beautiful than the unisono sound of Callas and Stignani... How come Stignani isn't more famous? She's WONDERFUL! Two thumbs up!!!

If you think the 1955 Scala Norma with del Monaco and Simionato was legendary, wait until you hear this! This is Norma like it has never been sung before! At 1952, Callas was still the heavyset woman that she was during the earlier part of her career. And during this time, her voice was still a large, brilliant column of sound that could easily overpower the orchestra and her fellow singers without difficulty. And what is truly amazing is this performance with Vittorio Gui (later to conduct her legendary La Scala Traviata) in the pit, a better-sounding Ebi Stignani, and an amazing tenor with the name of Mirto Picchi. Callas was the legendary dramatic coloratura d'agilita that most people fantasized her to be during this night, and none of her notes resembled the voice which would soon arouse controversy amongst her many detractors years later. Her interpretation was as always, the greatest, and since the power of her voice had not yet diminished, her fury duets beginning with "Ma di l'amato giovane...Oh non tremare" to "Oh di qual sei tu vittima" and "Perfido...Vanne,si,mi lascia indegno" are simply mind blowing. Her first recitatives, aria, and cavatinas are sung with seamless legato, and the final scene is as what most Italians would call (in reference to operatic perfection), Pace Verdi. And oh, did I mention Joan Sutherland's brief appearance as Clotilde in this performance? Too bad they didn't cast her as Adalgisa, otherwise this would be the greatest Norma of recording history! I just wish Dame Joan would have learned more about drama from Callas, otherwise her Norma would have been truly the greatest after La Divina. But no complaints about her Adalgisa, as Stignani sounded fresh and dramatically convincing as Adalgisa in this record. Mirto Picchi may not have the instant heroic timbre of Corelli and del Monaco, but he proved to be Callas' dramatic equal in that night's performance...a fine Pollione as I would say. Listen to the last act, and you would understand why Callas' Norma will always hold supreme over other Normas, even Ponselle, who was famous for triumphing in that role only half a century earlier.

Unfortunately, this famous recording is sabotaged by the mastering. A result of the ridiculous collaboration between EMI and Callas' horrid sister Jackie, who claimed ownership of Callas live performances (like that could be true!!!!) this mastering, copied from either Verona or AS-Disc, is a few minutes too long due to a downward drift in pitch; its on three CDs while more consistently pitched versions on Melodram or Legato are on two. Look for the Legato version - its sounds better than the Melodram. But avoid this set.

I'm thankful to EMI for releasing this definite performance of NORMA in such brilliant sound. Were it not for the applause it could be a studio-recording. Absolutely beautiful, the very best Norma!!!

In 1952 this woman could have sung EVERYTHING. Imagine a voice that sings Lucia AND Lady Macbeth! Norma was her greatest role, a role even Gruberova was afraid to tackle because it belongs to Callas. (And Gruberova's Norma was....) In 1952 her voice was beautiful, steady, rich and glorious! This is the only Norma to buy!