Bellini - Norma / Sutherland · Caballé · Pavarotti · Ramey · WNO · Bonynge

Vincenzo Bellini (Artist), Richard Bonynge (Artist), Joan Sutherland (Artist), Montserrat Caballé (Artist), Orchestra and Chorus of the Welsh National Opera (Artist), Luciano Pavarotti (Artist), Samuel Ramey (Artist), Diana Montague (Artist)

Product Details

• Audio CD (October 25, 1990)
• SPARS Code: DDD
• Number of Discs: 3
• Label: Decca
• ASIN: B0000041QF
• In-Print Editions: MP3 Download
• Average Customer Review: 3.3 out of 5 stars  See all reviews (23 customer reviews)
• Amazon.com Sales Rank: #71,726 in Music (See Bestsellers in Music)

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  #17 in	Music > Opera & Vocal > Divas > Caballe, Montserrat
  #24 in	Music > Opera & Vocal > Divas > Sutherland, Joan
  #76 in	Music > Opera & Vocal > Languages > Italian

Track Listings

Disc: 1

1. Norma, opera: Sinfonia

2. Norma, opera: Act One: introduzione

3. Norma, opera: Act One: Svanir Le Voci!

4. Norma, opera: Act One: Meco All'altar Di Venere

5. Norma, opera: Act One: Me Protegge, Me Difende

6. Norma, opera: Act One: Norma Viene

See all 10 tracks on this disc

Disc: 2

1. Norma, opera: Act One - Scene One: Sgombra Č La Sacra Selva, Compiuto Il Rito

2. Norma, opera: Act One - Scene One: Deh! Proteggimi, O Dio!

3. Norma, opera: Act One - Scene One: Eccola! Va, Mi Lascia, Ragion Non Odo

4. Norma, opera: Act One - Scene One: Va, Crudele, Al Dio Spetato

5. Norma, opera: Act One - Scene Two: Vanne, E Li Cela Entrambi

6. Norma, opera: Act One - Scene Two: Adalgisa!

See all 15 tracks on this disc

Disc: 3

1. Norma, opera: Act Two - Scene One: Scena - Introduzione

2. Norma, opera: Act Two - Scene One: Dormono Entrambi

3. Norma, opera: Act Two - Scene One: Mi Chiami, O Norma!

4. Norma, opera: Act Two - Scene One: Deh! Con Te, Con Te Li Prendi

5. Norma, opera: Act Two - Scene One: Mira, O Norma

6. Norma, opera: Act Two - Scene One: Si, Fino All'ore Estreme

See all 17 tracks on this disc

Editorial Reviews

Amazon.com

Sutherland's Norma offers ravishingly beautiful tone at a pitch where most soprano voices get thin, exquisite grace and agility in the elaborate ornamentation that characterizes bel canto style, and freedom from strain no matter what kind of vocal acrobatics a composer may demand. What one misses here is the heightened drama, the precise delineation of character and emotion, and the verbal mastery of Callas. Sutherland's voice--the main reason for wanting to hear this recording--is perhaps a shade less fresh in this 1984 performance than when she recorded her first Norma 20 years earlier, but she still has all the grace, all the high notes, and most of the power that earned her the Italian nickname "La Stupenda." She heads an all-star cast that lives up to its reputation, and her husband's conducting is more impressive than it was in 1964. --Joe McLellan

Customer Reviews

Most Helpful Customer Reviews

19 of 22 people found the following review helpful:

2.0 out of 5 stars A sad recording, September 19, 1999

By A Customer

Joan Sutherland was about 60 at the time of this recording. What you hear is a barely recognizable Sutherland sound. The Decca cd set with Sutherland/Horne is the one to get, believe me. Sutherland and Horne were dropped dead gorgeous in their 1960's definitive Norma. If you choose to buy this set because Caballe is Adagisa, be warned that the two divas sound very boring and tired. All of Sutheland's famous high notes are completely gone, even her trill and colortura runs are inaccurate. Please, I'm Sutherland's biggest fan, that's why I'm telling you how it really is. This Norma is a disaster. Remember though, the Sutherland's earlier Norma with Marilyn Horne is a real gem.

9 of 9 people found the following review helpful:

4.0 out of 5 stars SUTHERLAND A MORE AUTHORATIVE NORMA THAN BEFORE, June 11, 1999

By A Customer

I have always been a great admirer of Joan Sutherland. To hear her in operas like "Lucia", "Sonnambula", "Puritani, "Semiramide" or even "Maria Stuarda" was to experience the "real thing". No doubt about it. As a sheer singing machine, Sutherland in her prime had no rivals ---- certainly not even Callas, whose genius was rooted in a different sphere entirely. But Norma requires something more than a voice, no matter how great that particular voice and technique may be. I always felt that Sutherland's vocal personality was not sufficient for Norma. who must project powerful emotions. She is, after all, a feared presence in the story. Of course one can say that in opera it's the singing that matters and that Norma must have voice, voice, and more voice. True, but there must be a vocal personality to suit the character. I found this to be totally missing on Sutherland's 1964 recording, and still feel that the violent emotions or Norma never really came naturally to her, as it certainly did to Callas. Nevertheless, Sutherland had come a long way in the projection of a text in the intervening years between the 1964 recording and the present one. Sutherland actually projects great power and authority here, and for me, her Norma becomes at least plausible from a dramatic standpoint. Her recititives now ring with a strength and power that were completely absent before. The voice is clearly no longer the liquidy and shining instrument it was before, but it remains valid nonetheless. I actually can appreciate the Sutherland more on this recording than I could on the first. And she is to be respected and admired as well. For a soprano to re-record twenty years later the most difficult role in her repertoire, at age 58 yet, and to still make a valid account of it, is to me something very amazing and wonderful. Sutherland has a soprano Adalgisa here, no less than the great Montserrat Caballe, a pretty valid Norma herself. The pairing works well. Caballe's soft grained sound mixing well with Sutherland's more mature and darker sound. The duets between the ladies are certainly rewarding to listen to. Of Pavarotti, what can one say? He sings, period. I like what Bonynge does with the orchestra here better than in 1964 as well. The moves pretty quickly, actually at points creating a taut orchestra atmosphere, all to the good in this opera. Recommendation? If one wants to hear what Sutherland could accomplish vocally with Norma, than I would go for the first version (which also features an awesome Marilyn Horne), also on London. For a more balanced overall production, and a more mature Sutherland, I would consider this one. Still, I would certainly recommend one of the Callas versions. Actually, one should own both Sutherland and Callas, and possibly Caballe's Norma as well.

12 of 14 people found the following review helpful:

5.0 out of 5 stars Great recording with Sutherland, Caballe, and Pavarotti!!!!!, July 28, 2001

By	BRETT H DAVIS (Boynton Beach, FL United States) - See all my reviews

I am a huge fan of all of the 3 principals and saw them many times at the San Francisco Opera in the 70's and 80's. Their TURANDOT studio recording together from 1973 is other worldly...and I am also a big fan of a Nilsson, and Price and all of the greats that I have seen or been lucky to be exposed to over the years. This NORMA was recorded in 1984 and they are all in great voice. Remember Caballe went on to sing ISOLDE in 1989! Only Caballe would use pianissimos in the Act II love duet. I have the LP with Sutherland/Horne NORMA from 1964..(from my teen years) it is the most beautiful NORMA ever recorded. However, I especially love the last act of this opera and the final scene with Sutherland and Pavarotti (the dynamic vocal duo) moves me deeply. Sutherland does not sound tired! The only recording of Sutherland'S that really sounds tired and effortful is the Video VHS of the LES HUGENOTS which I believe was her farewell performance from the stage in Australia. It was painful to watch and I have never finished watching it! I saw the great Maria Callas in her farewell tour with Di Stefano and it was sad. I think people who only enjoy one singer in a particular role are limiting themselves and closed minded. Callas, Caballe, Sills, and even Shirley Verrett (who sang it in SF) are all great interpreters of NORMA. Pavarotti is at the peak of his powers and that is why I bought this recording. Buy it and you will not be disappointed!