Bellini - Norma / Marķa Callas

Vincenzo Bellini (Artist), Tullio Serafin (Artist), Maria Callas (Artist), Mario Filippeschi (Artist), Rina Cavallari (Artist), Paolo Caroli (Artist), Nicola Rossi-Lemeni (Artist)

Product Details

• Audio CD (August 19, 1997)
• SPARS Code: ADD
• Number of Discs: 3
• Label: EMI Classics
• ASIN: B000002RXP
• In-Print Editions: MP3 Download
• Average Customer Review: 4.5 out of 5 stars  See all reviews (33 customer reviews)
• Amazon.com Sales Rank: #31,947 in Music (See Bestsellers in Music)

  Popular in these categories: (What's this?)

  #6 in	Music > Opera & Vocal > Voices > Baritones
  #9 in	Music > Opera & Vocal > Divas > Callas, Maria
  #34 in	Music > Opera & Vocal > Languages > Italian

Track Listings

Disc: 1

1. Norma, opera

2. Norma, opera

3. Norma, opera

4. Norma, opera

5. Norma, opera

6. Norma, opera

See all 15 tracks on this disc

Disc: 2

1. Norma, opera

2. Norma, opera

3. Norma, opera

4. Norma, opera

5. Norma, opera

6. Norma, opera

See all 8 tracks on this disc

Disc: 3

1. Norma, opera

2. Norma, opera

3. Norma, opera

4. Norma, opera

5. Norma, opera

6. Norma, opera

See all 20 tracks on this disc

Editorial Reviews

Amazon.com essential recording

A recording of Norma is essential for any Maria Callas collection. This intense and musically demanding drama deals with forbidden love, infidelity, conflicting emotions, and death that comes almost as a relief from overwrought passion. It gives Callas golden opportunities for characterization and dramatic gestures in her timing, vocal coloration, verbal and dynamic emphases. Of the half-dozen or more perennially on the market, the first choice is this one, dating from 1954 when her voice was in relatively good shape (although the 1960 EMI recording, also conducted by Tullio Serafin, had even better acting and, in Christa Ludwig, a much better supporting cast). Callas is essential to those who enjoy opera primarily as theatre. The singing is vivid, if typically uneven, and reinforced by Serafin's expert conducting. --Joe McLellan

Customer Reviews

Most Helpful Customer Reviews

36 of 36 people found the following review helpful:

5.0 out of 5 stars Love Her or Hate Her -- You Can't Be Indifferent, August 18, 2003

By	Michael L Stephens (Richmond, CA United States) - See all my reviews

I had a wonderful time reading through the 38 previous reviews, as they reflect everything I've heard about Callas in the nearly 40 years I have enjoyed opera as my favorite musical art.

Like some of the previous reviewers, I started out positively disliking Callas' voice, and perhaps was too green to appreciate the incredible dramatic insight she brings to almost every role she sings. Of course, I first heard her in the mid-1960s, when she was coming to the sad end of a very great career.

But as I heard more recordings of her work in the 1950s, I slowly became intrigued, then fascinated, and finally riveted by her performances, which I believe are the finest by ANY soprano ever committed to vinyl and, later, transferred to CDs.

Yes, I'm firmly of the school that opera is not just about voice. Opera is DRAMA WITH MUSIC, and no one has ever demonstrated that more theatrically or thrillingly than Maria Callas. That's not to say I don't love beautiful voices, and I understand why some people would prefer Sutherland or Caballe. These great singers, however, are lousy actresses, unable to penetrate the meaning of a text, unlike Callas, where the text fits her like a second skin. To borrow the old line about Rossini, they could be singing a laundry list and it would be indistinguishable from their operatic performances. They are just like John Wayne -- always themselves, regardless of the role.

I was interested in the couple of reviewers who preferred Christina Deutekom's recording of NORMA, which I haven't heard. But I did see the 1987 San Diego Opera production of NORMA starring Deutekom, and she was an unmitigated disaster -- far uglier in sound that any Callas hater could even imagine when they call HER voice ugly. And, she wasn't much of a stage presence either.

As to this recording, yes, it is the greatest NORMA that I've ever heard, although unfortunately I've never come across the 1955 version which some others say they prefer. I'd beg, borrow or steal to get a copy of that.

34 of 34 people found the following review helpful:

5.0 out of 5 stars Must Have Recording, July 30, 2003

By	Scott Jelsey "tscott2" (Houston, TX United States) - See all my reviews

This is one of the great opera recordings. Callas IS Norma. Her performance is breathtaking - portamento, trills, coloratura - all seamlessly integrated into the character. And she is in glowing GORGEOUS voice throughout! Opera newbies tend not to "get" Callas, partly because she is just too intense and doesn't sing in the more deadpan "modern" manner. The rest of the cast is OK - Callas' 2nd Norma has a much better cast overall. But this is the one to have. Deservedly ranked over and over as one of the greatest opera recordings. Period.

30 of 30 people found the following review helpful:

5.0 out of 5 stars There is only one Callas, December 11, 1999

By A Customer

Whatever virtues other Normas may have, there is only one great Norma-Callas. I would be the last to tread on Sutherland or Caballe but Callas is the greatest Norma ever, period. Superficially, her voice might sound abrasive and unfocused but if you listen deeper, her voice is extraordinarily expressive and has a beauty all its own. It is not the supple, bright Sutherland tone or the rich Caballe, but it has more feeling in one phrase than Sutherland and Caballe had in their entire lives combined. Listening to Callas sing Norma is an entirely different experience than anyone else. If you haven't yet found the genius in her, keep listening, it will come, and when it does, opera will forever be a different experience.

As to the present recording, it is her best Norma. Unfortunately though, her supporting cast is not very impressive. Mario Filippeschi sounds strained at times, but he has some good moments. Ebe Stignani, if not as good as Ludwig on Callas' 1960 recording, is fine. The conducting of Tullio Serafin is, as usual, exemplary. But what makes this THE Norma is Callas, no one will ever hold a candle to her.