Customer Reviews

Norma

5 star:		(6)
4 star:		(0)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

I was knocked over with this Norma. It was simply moving, very dramatic, and beyond description. I must say, I am a Callas and Sutherland fan, and their Normas were for me unmatchable, that is until this one. Scotto reminds me more of Callas, with her harsh sounds, but she has the vocal skills in many ways more like Sutherland. And she has her own unique characterization that only adds to this extremely difficult opera.

Troyanos is wonderful as Adalgisa and blends remarkably well with Scotto. Sadly, as good as the other leads are, they just didn't leave a lasting impression -- and that is not too surprising as they haven't that much to sing.

As a note for those accustomed to the added high note endings in Sutherland recordings, and in some Callas ones too, and cut postludes ( which are at times extremely interesting ), this recording restores much of those cuts, and one hears passages where Adalgisa ascends higher than Norma. Bellini's original conception that closes the first act ( no high D written here ) is actually very refreshing to hear. The additional music, amounting to only a few bars really, in the Mira Norma duet give a much grander ending than usually one is accustomed to with the cuts. This is an all-round good buy. The stereo sound is good too.

Renata Scotto's Norma has all of the elements that one loves in Maria Callas' Norma, but Scotto has her own unique take on this role, with her own special voice, which I would never compare to Callas', whose 1955 live Norma is unbeatable. But this set has many treasures, Casta Diva, e.g. and a lot of dramatic power between Scotto and Troyanos in the great duets, O Rimembranza, and Mira O Norma!..the opened cuts are welcome, and while the conducting is not very good this gives Renata Scotto the chance to take over and delve into the title role as she loves to do with bel canto pieces, and find the sources of power in the Bellini score, a search that eludes so many, including Sutherland and Caballe. Renata rules here.

A great opera, and seering dramatics all through it.

For even more spectacular interpretations get Scotto with Muti in Norma LIVE...Bellini with the artistic commitment he deserves.

Miss Renata Scotto is superb in this belcanto masterpiese. In my opinion, she is the only genuine heiress of Maria Callas.

I was raised on the various recordings of Norma with Callas (live and studio) and I consider them great but Renata Scotto is one of the greatest artists of all times. She has the bel canto technique and the soul of an artist. I recommend this recording so very highly. Tatiana Troyanos is marvellous. You will not be disappointed. This recording breaks one's heart.

I must pass my verdict on this recording. Earlier this year I said that I thought that Caballe's 1974 Norma with Vickers and Veasey was the second-greatest interpretation of the role after Callas' Norma. I obviously didn't see this one on the rack! Never before have I heard the duets sung in the original keys, plus the beautiful aria Casta Diva, sung to perfection in yet again the original keys, with such drama! Scotto may not have the frightening lower registers that Callas put in the middle of her voice (unhealthy for her cords, but extremely exciting!!!), but she gave this Norma a life that not even Sutherland, Caballe, Sills, Anderson, Cerquetti, or Gruberova could touch. Christine Goerke, another modern Norma, couldn't even come close with Scotto's interpretation! This Norma truly is a revelation! Norma is my favorite opera, and I'm usually EXTREMELY picky about the Normas that sing this role, and Scotto comes close to my ideal Norma as any diva ever could. She at least had a Norma with a soul! Thankfully! From her entrance recitativo, Sediziose voci, each word is carefully sung with detail that could never be sung by any other Norma after Callas. Her Casta Diva is heavenly, and her duets with Adalgisa are beautiful! Her Deh! Non volerli vittime touches me deeply, and I'm glad that she recorded this role. The Adalgisa in this recording Tatania Troyanos, sings with a tenderness that I have found only in Christa Ludwig's Adalgisa. Montserrat Caballe was simply too much of a soprano to sing the role. I thought her voice fit Adalgisa beautifully, and she does sound young! She sounds even better here than she did in the Met Norma with Sutherland. Giacomini sings Pollione with a fire I haven't heard since Vicker's reading of the role. Very impressive indeed. And then Paul Plishka, the baritone/bass who sings the role of Oroveso with grace and style...and what a voice! He does Sweeney Todd well too, might I add? James Levine, the definitive Metropolitan Opera conductor, gives this performance quite the fast reading for my taste, but then slimming the performance down to two CD's gives this Norma a very "LIVE" feel. He does conduct with excitement though, and he still gives this a much better reading that Bonynge's two studio Normas with his wife. Highly recommended!

I can't wait until Renée Fleming sings the role of Norma. To see her sing the role of the Druid Priestess along with Vesselina Kasarova would be such a treat! Patrick Summers would make such a great conductor for such a performance, and believe it would be a good idea to cast either Marcello Giordani or Ben Heppner as Pollione. Paul Plishka or Samuel Ramey would be fine choices for Orovesos. Since Renata Scotto loves to work with Renée Fleming, I think she would be a great help in preparing Renée for this very very demanding role (Lilli Lehmann herself said that she would rather have three Gotterdammerung Brunhilldes in one night rather than one Norma).

I have had this recording about 8 years. Still, every time I listen to it, I feel the great magic of this opera. Scotto's singing is vivid, with strong feeling of drama in it, accompanied by excellent musical direction. The recording is not technically as good as contemporary classical recordings, but the singing voices are mostly well captured. I've seen Norma on stage and heard an older recording with Callas, but this one is my favourite by far. Preferences in singing a matter of personal taste. The best recording of Norma is the one that you like the most.

The music is fine. However, the price is too high considering the packaging. Most CDs are not very expensive today, e.g., I can get Leontyne Price's CD at $7, and it's 75 minutes. I used to pay under $25 for a 2-CD opera, including a nice box and libretto. This product is strip-down, witho almost nothing besides the 2 CDs. Yet they cost $24.

I would rather pay a few bucks more and get a nice libretto. I will never buy ArkivCD again.