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Bellini: Norma

4.4 out of 5 stars 15 customer reviews

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Audio CD, June 6, 2000
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Track Listings

Disc: 1

  1. Norma, opera: Sinfonia / Overture
  2. Norma, opera: Act 1. Coro d'Introduzione e cavatina. Scena: Ite sul colle
  3. Norma, opera: Act 1. Recitativo e Cavatina. Svanir le voci
  4. Norma, opera: Act 1. Recitativo e Cavatina. Meco all'altar di Venere
  5. Norma, opera: Act 1. Recitativo e Cavatina. Odi!? I suoi riti a compiere
  6. Norma, opera: Act 1. Recitativo e Cavatina. Me protegge, me difende
  7. Norma, opera: Act 1. Coro. Norma viene
  8. Norma, opera: Act 1. Scene e cavatina. Sediziose voci!
  9. Norma, opera: Act 1. Scene e cavatina. Casta Diva
  10. Norma, opera: Act 1. Scene e cavatina. Fine al rito
  11. Norma, opera: Act 1. Scene e cavatina. Ah! Bello, a me ritorna
  12. Norma, opera: Act 1. Scene e Duetto. Sgombra è la sacra selva
  13. Norma, opera: Act 1. Scene e Duetto. Deh! Proteggimi, o Dio!... 'Eccola! Va, mi lascia
  14. Norma, opera: Act 1. Scene e Duetto. Va, crudele, al Dio spietato
  15. Norma, opera: Act 1. Scene e Duetto. Vanne, e li cela entrambi
  16. Norma, opera: Act 1. Scene e Duetto. Adalgisa!...Alma, costanza!
  17. Norma, opera: Act 1. Scene e Duetto. Oh! Rimembranza! Io fui così

Disc: 2

  1. Norma, opera: Act 1. Scena e Terzetto - Finale Primo. Ma di': l'amato giovane
  2. Norma, opera: Act 1. Scena e Terzetto - Finale Primo. Oh non tremare
  3. Norma, opera: Act 1. Scena e Terzetto - Finale Primo. Oh! Di qual sei tu vittima
  4. Norma, opera: Act 1. Scena e Terzetto - Finale Primo. Perfido!...Or basti
  5. Norma, opera: Act 2. Introduzione.
  6. Norma, opera: Act 2. Dormono entrambi... Teneri, teneri figli
  7. Norma, opera: Act 2. Scena e Duetto. Me chiami, o Norma
  8. Norma, opera: Act 2. Scena e Duetto. Deh! con te, con te li prendi
  9. Norma, opera: Act 2. Scena e Duetto. Mira, o Norma, a'tuoi ginocchi
  10. Norma, opera: Act 2. Coro. Non partì!
  11. Norma, opera: Act 2. Coro. Guerrieri! A voi venirne
  12. Norma, opera: Act 2. Scena. Ei tornerà
  13. Norma, opera: Act 2. Scena. Squilla il bronzo del Dio!... Norma! Che fu?
  14. Norma, opera: Act 2. Scena. Guerra! Guerra!
  15. Norma, opera: Act 2. Scena e Duetto. Nè compi il rito, o Norma?
  16. Norma, opera: Act 2. Scena e Duetto. In mia man alfin tu sei
  17. Norma, opera: Act 2. Scena ed Aria final. All'ira vostra
  18. Norma, opera: Act 2. Scena ed Aria final. Qual cor tradisti
  19. Norma, opera: Act 2. Scena ed Aria final. Norma, deh! Norma scòlpati!
  20. Norma, opera: Act 2. Scena ed Aria final. Deh! Non volerli vittime


Product Details

  • Performer: Tatiana Troyanos, Christina Deutekom, Gary Burgess, Janice Felty
  • Conductor: Carlo Felice Cillario
  • Composer: Vincenzo Bellini
  • Audio CD (June 6, 2000)
  • Number of Discs: 2
  • Label: Gala
  • ASIN: B00000JWHX
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (15 customer reviews)
  • Amazon Best Sellers Rank: #588,753 in Music (See Top 100 in Music)

Customer Reviews

Top Customer Reviews

Despite having listened to nearly every major exponent of this role (Cigna, Callas I & II, Sutherland I & II, Caballe), I never could "warm up" to "Norma" as an opera: it just seemed too bland, discontinuous, dramatically "not there." But by golly, THIS is the recording that did it for me! Cellario's conducting is taut, brisk and dramatic; he pulls the various scenes together like no one else. The tenor Morella starts out OK but gets better and better through the performance; Clifford Grant, as Oroveso, is magnificent; and the all-important female leads are sung as well or better than I have EVER heard them. Deutekom was in fabulous voice: every note just flies out there like the golden ping of some enormous, other-worldly bell, and her incisive dramatic flair just takes one's breath away. Troyanos, who could sometimes be uneven, is at her glorious best here. When the two of them get going in their duets, it is so fantastic that you actually can't breathe while listening to them. (The knowledgeable audience breaks up "Mira, o Norma" with a half-minute's applause, but who could blame them? They probably had goosebumps running up and down their backs.) The much-overrated trio for Norma, Adalgisa and Pollione has never been sung better, all three voices blend perfectly in size, weight and texture, and to hear Deutekom in the Act I finale is to truly hear the Voice of the Goddess. My only two (little) complaints: "Casta diva" is JUST a hair too fast, forcing Deutekom to smudge two of her coloratura figures, and of course the sound is "broadcast quality," very good broadcast quality but certainly not up to the level of today's super-clean digital recordings. Otherwise...this IS "Norma," go for it!
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By A Customer on March 27, 2000
This recording has caught Cristina Deutekom in what must have been one of her best performances on stage ever. The voice soares thoughout the whole range, from the always well projected chest voice unto the thrilling "acuti". She gives the role all the dramatic shades it requires and never holds back. The sum of this is best heard in her duet with Pollione: the best I have ever heard it sung.
In Tatiana Troyanos she has an equal partner in every respect. Together they do put the famed Sutherland/Horne duo in the shade.
Never mind it being a live recording, get it!
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By A Customer on March 17, 2000
After listening to this recording, I went back and listened to my other Norma recordings: Callas, Sutherland, Caballe, Callas and Sutherland again, and decided that the Deutekom recording is now my firm favorite. The dramatic and exciting reading by Deutekom and Troyanos is such an adrenaline rush I can't get enough of this CD. Just listen to the Finale of Act One to be convinced. Deutekom's voice is strong in all ranges, low, middle and high, and the throb in her voice during dramatic passages really moves me. Her high D's and E flats are given full voice with nothing held back. Highest recommendation!!
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By A Customer on July 9, 2001
Verified Purchase
....
As mentioned below- Clifford Grant is excellent- every bit the imposing father with his rich, huge voice. One wishes that the part were much larger. Merolla sings at a loud volume the entire time and muscles the character's limited coloratura.
Troyanos is ...remarkable ... Her voice is a rich, dark miracle- luscious and sensual like the very finest red wine. It reminds me of the mahogany glory of Flagstad, imposing like hers, but yet vulnerable, and feminine even sexy. She certainly doesn't do anything inappropriate for the character of a deceived vestal virgin, but you can easily believe that she caught Pollione's eye. I doubt that Troyanos could have takne the gorgeous sensuality out of her voice if she tried. She has no trouble with the high notes or the coloratura- needing no aspirates: beautiful legato. She is the one who provides the lion share of vocal subtlety: dynamic shading, technically secure and dramatically sensitive phrasing: even without any artistry, her vocal color is so beautiful that it would have carried her through the performance and yet she misses not one opportunity for expression. The set is worth a far higher price for her singing alone.
It is the impression that Deutekom leaves on the other listeners that puzzles me. I find her performance to be very uneven: yes, she gives her all dramatically, but not as much as Callas. Why must I compare her to Callas? Deutekom has some of the same acid in her voice, and many many times on this recording she sounds like a brighter-voiced Callas. More troubling are a couple of entrance mistakes and more times when her intonation strays too far south.
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Tempted into trying this by some enthusiastic reviews, I find my own enthusiasm for it to be tempered by some drawbacks which its admirers seem not to hear or remain untroubled by. The main issue here for me is Deutekom's tuning. She has a surprisingly strong powerful voice for a singer who was a famous coloratura and sang lyric roles such as the Queen of the Night to great acclaim (as per her account in Solti's earlier "Magic Flute"), especially in her lower register. She attacks the music with real confidence and vigour. The warbling vibrato which bothers many is not too obtrusive here but there is an odd change of gear in her vocal production as the voice ascends and in the mid-range the vibrato seems to be permanently centred under the note to produce an effect decidedly flat - and I'm afraid I find it painful to listen to for all her accomplishment. Indeed in the famous duet with Adalgisa in which the singers shadow each other in thirds Deutekom pulls Troyanos down with her to end very flat indeed, nearer a B than the tonic C. That's a negligible flaw in a live performance but again makes for uncomfortable listening. I admire so much that Deutekom does: the delicacy and poise of her soft singing and the clarity of her divisions - but I cannot get over her intonation.

Troyanos's velvety sound is a real bonus; what a lovely singer she was, and here she is more impassioned than was sometimes the case with an artist who could be temperamentally cool. The other vocal treat here is Clifford Grant's rich, flexible bass with its distinctive timbre.
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