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Bellini: Norma

Vincenzo Bellini (Composer), Giovanni Antonini (Conductor), Orchstra La Scintilla (Orchestra), Format: Audio CD
3.7 out of 5 stars 62 customer reviews
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Track Listings

Disc: 1

  1. Bellini: Sinfonia - Sinfonia
  2. Bellini: Introduzione
  3. Bellini: Svanir le voci!
  4. Bellini: Meco all altar di Venere
  5. Bellini: Me protegge, me difende
  6. Bellini: Norma viene& - Norma viene
  7. Bellini: Sediziose voci
  8. Bellini: Casta Diva - Casta Diva
  9. Bellini: Fine al rito - Fine al rito
  10. Bellini: Ah! bello a me ritorna
  11. Bellini: Sgombra e la sacra selva
  12. Bellini: Deh! proteggimi, o Dio!
  13. Bellini: Eccola! va, mi lascia, ragion non odo
  14. Bellini: Va, crudele, al Dio spietato
  15. Bellini: Vanne, e li cela entrambi
  16. Bellini: Adalgisa! - Adalgisa!
  17. Bellini: Oh! rimembranza!
  18. Bellini: Ah! si, fa core, e abbracciami
  19. Bellini: Ma di... l amato giovane quale fra noi si noma?
  20. Bellini: Oh! di qual sei tu vittima..
  21. Bellini: Perfido!

Disc: 2

  1. Bellini: Scena - Introduzione
  2. Bellini: Mi chiami, o Norma!
  3. Bellini: Deh! con te, con te li prendi
  4. Bellini: Mira, o Norma - Mira, o Norma
  5. Bellini: Si, fino all ore estreme
  6. Bellini: Non parti? - Non parti?
  7. Bellini: Guerrieri! a voi venirne
  8. Bellini: Ah! del Tebro al giogo indegno fremo io pure
  9. Bellini: Ei tornera - Ei tornera
  10. Bellini: Squilla il bronzo del Dio!
  11. Bellini: Guerra, guerra!
  12. Bellini: Ne compi il rito, o Norma?
  13. Bellini: In mia man alfin tu sei..Gia mi pasco ne tuoi sguardi
  14. Bellini: Dammi quel ferro
  15. Bellini: Qual cor tradisti, qual cor perdesti
  16. Bellini: Norma! deh! Norma, scolpati!

Product Details

  • Performer: Cecilia Bartoli, Sumi Jo, John Osborn, Michele Pertusi, Liliana Nikiteanu, et al.
  • Orchestra: Orchstra La Scintilla
  • Conductor: Giovanni Antonini
  • Composer: Vincenzo Bellini
  • Audio CD (June 11, 2013)
  • Number of Discs: 2
  • Label: Decca
  • ASIN: B00BSO2U1Y
  • Average Customer Review: 3.7 out of 5 stars  See all reviews (62 customer reviews)
  • Amazon Best Sellers Rank: #74,098 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

5.0 out of 5 starsThe Original Norma? Intriguing, fascinating, and thought provoking!
By Matt B on June 13, 2013
Format: Audio CD Verified Purchase
Maria Callas was the supreme Norma of the last century. She interpreted Norma in a manner that was more consistent with the traditions of Bel Canto than had hitherto been done in the Twentieth Century. However, she was still a child of her time which meant that even though she approached the part with a keen appreciation for the principles of a much older generation, she was nevertheless influenced by more recent musical movements such as Verismo. In addition her supporting casts were often even less attuned to the Bel Canto traditions thus resulting in performances which while often supremely effective did not exactly replicate the sound-world of the time of the opera's composition. To further complicate matters her conductors... and this includes the venerable Tullio Serafin... most often took a more grandiose (and not to mention cut) version of the score. While the performances were effective given their timeframe, they most likely did not represent something that Bellini would have readily recognized.

The first attempt at introducing some corrective measures to this approach occurred with the appearance of the first of Joan Sutherland's two recordings under the baton of her husband Richard Bonynge. For the first time a lighter and more lyrical approach was taken... an approach that attempted to bypass and ignore the traditions propagated by Serafin and other older maestros. In short, Bonynge's version was the first attempt to perform the opera in a early Nineteenth Century manner with a respect for the piece's Rossinian pedigree. Cuts were opened, cabaletta repeats were embellished, and even some textual variations based on Bellini's original autograph score were introduced.Read more ›
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5.0 out of 5 starsOpera Politics Aside, a Very Good and Important Recording
By R. Gerard on August 6, 2013
Format: MP3 Music Verified Purchase
It should be stated at the outset, that this recording is not, and does not presume to be, one comparable to those of Serafin and Callas and the like. To compare this recording to older ones like Serafin's would be as futile as comparing Klemperer's St. Matthew Passion to that of John Butt's. Rather, it is acknowledged by the artists and by the accompanying materials that the present recording attempts to do something novel for this opera -- replicate *as closely as possible* the forces and practices that Bellini might have intended. Gone are the large forces with rounded sound quality, and voices having to project over them past their healthy limits. Norma was, after all, written only four years after the death of Beethoven. Norma is temporally closer to classical performance practice than later showpieces calling for the innovations of Boito and Verdi, for which greater pressures on the voice were required. It is time for the works of Bellini to be put in context, which is what Bartoli and Antonini attempt here. The differences which are reflected from this are not only inherent, but intentional.

This recording was always bound to open a Pandora's Box of operatic politics. Praising this recording is not mutually exclusive with disrespecting the exalted status of Callas's. It would be like praising new recordings of Bach's keyboard works on harpsichord, while having to discount musical giants like Glenn Gould who recorded the same works on a modern piano. Rather, it is probably most useful to take this recording of Norma and examine it according to its own merits. After all, nothing like it has been done before (though, notably, Callas herself used smaller, more intimate forces for her recording of Norma.Read more ›
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4.0 out of 5 starsreminds me of the naissance of period instrument movement in the late seventies and early eighties
By Orfeo2k on June 14, 2013
Format: Audio CD
Remember when people were having many diverse opinions on the very first period instrument recordings of Handel's Messiah? or Handel's Concerti grossi OP.6? The reactive adjustment from one interpretation to another is definitely interesting and expected.

I also have many recordings of Norma (Callas, Gencer, Scotto, Sills, Caballe and Sutherland). I decided to NOT compare this recording to all the old classic ones and listening to it afresh....

The result is infinitely rewarding !!!! I have this opera on heavy rotation since I got this recording and I thoroughly enjoyed and moved by all the performers. The singers, unlike the older recordings (which I also love), portrait the characters in a more humanistic scale and less "monumental" and 'untouchable' as the classic Callas- Caballe- Sills- Sutherland- interpretations.

There are really minimal faults for all the singers, as the project deliberately uses delicate lyrical voices and not the helden- or spinto- voice types to do this recording. I actually find that refreshing.

The Romani-Bellini word-music fusion is even more evident as now the singers can really make EACH word counts.

Even Callas once did something artistically WAY beyond her time at a rehearsal -

"... A coda: In 1957, Maria Callas portrayed Norma in London and sang a very delicate, small-scale "Casta diva" in rehearsal. A colleague complimented her on the approach, and she replied that she considered it the proper way to sing the aria--but that Italian audiences, accustomed to heroic voices, would never stand for it... "

As we see more and more operas being performed with period instruments e.g. Cherubini's Medea, Weber's der freischütz and even Wagner's Der Fliegende Hollander... BArtoli's recording/interpretation is long overdue :)

I highly recommend this recording... alongside with all the classic ones I have mentioned earlier :)
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Most Recent Customer Reviews

3.0 out of 5 starsA VALIANT ATTEMPT, BUT FUTILE.

My high hopes for recording were not met in this noble attempt that misfires. Love the color of the orchestra, but when the tempos are slow, they are funereal. Read more

Published 5 months ago by J. Carter Joseph
5.0 out of 5 starsSometimes it's a good thing to hear something so different- makes one...

A very intriguing and unusual recording of the opera that EVERY soprano since Maria Callas first brought it back to the center of attention in the 50's (though it was never... Read more

Published 8 months ago by Christopher
5.0 out of 5 starsA Different and Enjoyable Norma

For years I have been listening to the Joan Sutherland/Marilyn Horne recording of Norma and was intrigued when I read in Opera News of Cecilia Bartoli's recording with a mezzoish... Read more

Published 8 months ago by Luanne Coachman
2.0 out of 5 starsONLY FOR THE CURIOUS COLLECTOR

SHE IS UNBELIEVABLE WHEN HEARD LIVE. A VERY GREAT MUSICIAN. A MEZZO SOPRANO AND NOT A NORMA. GREATLY MISS THE UPPER RANGE. GO LISTEN TO ROSA PONSELLE SING CASTA DIVA.

Published 11 months ago by Lawrence J. Acchione
5.0 out of 5 starsA Norma not to be missed!

Absolutely the best recording of Norma I've ever heard and there are plenty of excellent ones out there! Read more

Published 12 months ago by Michael P. Cascia
5.0 out of 5 starsAbnormal Norma...and quite beautiful!

Norma is not my number one favorite bel canto opera (that vote would go to Lucia). It is constantly full-blooded, overheated, and oh-so-serious while also trying to make the... Read more

Published 14 months ago by alarmi
4.0 out of 5 starsElectric!

Bartoli and Jo are an electric team. Brilliant performance of one of the greatest bel canto operas

Published 16 months ago by DavidJB
5.0 out of 5 starsFive Stars

I love this recording. Thank you.

Published 17 months ago by Larry
5.0 out of 5 stars... the reviews hereabouts so I'll make it short and sweet: Bartoli's...

There's little I can add to the reviews hereabouts so I'll make it short and sweet:
Bartoli's Norma is a revelation. Period.

Published 17 months ago by Larry J. Victor
5.0 out of 5 starsAwesome Interpretation!

I love this! The assembly nailed it: sound, musicality, passion. There is a wonderful "bounce" to the orchestra. Read more

Published 17 months ago by Michael Newberry

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