[.ca] Norma: Comp (Rm)

From Amazon.co.uk:
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 characterisation 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

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

The Norma of the century!:
I've done a project which consisted interviewing opera-experts in 13 countries, it contained the question "Which Norma springs to mind immediately?" Of over 150 people asked 134 said "CALLAS!", 8 said "PONSELLE!" five said "SUTHERLAND!" and three said "MILANOV!". When asked for further explainations it was said that Callas put a stamp on this role that will never vanish. Edita Gruberova mentioned her nervousness when it comes to tackling Norma because this role "belongs" to Callas. Caballe voiced similar fear and worked with Callas on the role. (Caballe said that Callas was the sweetest, most precious advisor she ever had) Callas then gave Caballe the earrings she had worn during her greatest performance of Norma, the La Scala opening in 1955. (A live-recording is available) Here we can hear how right such titans as Caballe and Gruberova are. Callas owns the role of Norma. Critics, colleagues and a faithful audience (It's now 40 years ago that Callas sang her last Norma) prove it. This Norma is essential. In Serafin this set has the greatest Bellinian conductor, much better than Muti, Levine or Bonygne who also conducted Norma-recordings. ~Estelle

Love Her or Hate Her -- You Can't Be Indifferent:
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.

Breathtaking:
The perfect Norma from the greatest singer in the world! Brava La Divina!

Absolutely stunning:
There are two commercial recordings of Norma featuring Callas. This one is the earlier version with her on the peak of her vocal powers. Nothing is too hard for the queen of bel canto here. As Bellini visionized Norma for Pasta she delivers the ultimate studio-performance of this tormented heroine, outshining all the other Normas after her. Only Ponselle's Norma can be mentioned in the same breath with her. Buy this one for the vocal finish and the version from 1960 for the most sublime, most feminine Norma ever!

A precious Norma!!:
Callas in her blazing prime, Stignani at her mature best and Serafin who beats all other Bellini-conductors hands down! A dream-team that has never been surpassed. How funny that several of those nasty reviewers say that this is a live-recording... This proves that they haven't even listened to it because it's a studio-recording, the sound is excellent. And those "retired" or "Young" operasingers may want to reveal their names so everyone will see that they write such crap because of envy for Callas' illustrious career and critical acclaim. This isn't Amazon's pick for nothing. Callas remains the greatest Norma to this day.

• Norma: Sinfonia - Orchestra E Coro Del Teatro Alla Scala
• Norma: Act One, Scene One: Ite sul colle...Dell'aura tua profetica - Orchestra E Coro Del Teatro Alla Scala
• Norma: Scene One: Svanir le voci ! - Orchestra E Coro Del Teatro Alla Scala
• Norma: Scene One: Meco all'altar di Venere - Orchestra E Coro Del Teatro Alla Scala
• Norma: Scene One: Odi?...I suoi riti a compiere - Orchestra E Coro Del Teatro Alla Scala
• Norma: Scene One: Me protegge, me difende - Orchestra E Coro Del Teatro Alla Scala
• Norma: Scene One: Norma viene - Orchestra E Coro Del Teatro Alla Scala
• Norma: Scene One: Sediziose voci - Orchestra E Coro Del Teatro Alla Scala
• Norma: Scene One: Casta Diva - Orchestra E Coro Del Teatro Alla Scala
• Norma: Scene One: Fine al rito, e il sacro bosco - Orchestra E Coro Del Teatro Alla Scala
• Norma: Scene One: Ah! bello a me ritorna - Orchestra E Coro Del Teatro Alla Scala
• Norma: Scene One: Sgombra la sacra selva - Orchestra E Coro Del Teatro Alla Scala
• Norma: Scene One: Eccola - va, mi lascia - Orchestra E Coro Del Teatro Alla Scala
• Norma: Scene One: Va, crudele - Orchestra E Coro Del Teatro Alla Scala
• Norma: Scene One: Vieni in Roma - Orchestra E Coro Del Teatro Alla Scala
• Norma: Scene Two: Vanne, e li cela entrambi - Vincenzo Bellini
• Norma: Scene Two: Adalgisa!...Alma, costanza - Vincenzo Bellini
• Norma: Scene Two: Oh, rimembranza - Vincenzo Bellini
• Norma: Scene Two: Ah si, fa core, abbracciami - Vincenzo Bellini
• Norma: Scene Two: Ma di'...l'amato giovine? - Vincenzo Bellini
• Norma: Scene Two: Oh, di qual sei tu vittima - Vincenzo Bellini
• Norma: Scene Two: Perfido!...Or basti! - Vincenzo Bellini
• Norma: Scene Two: Vanne, si, mi lascia, indegno - Vincenzo Bellini
• Norma: Act Two, Scene One: Introduzione - Vincenzo Bellini
• Norma: Scene One: Dormono entrambi! - Vincenzo Bellini
• Norma: Scene One: Ol ! Clotilde! - Vincenzo Bellini
• Norma: Scene One: Mi chiami, o Norma? - Vincenzo Bellini
• Norma: Scene One: Deh! con te, con te li prendi - Vincenzo Bellini
• Norma: Scene One: Mira, o Norma - Vincenzo Bellini
• Norma: Scene One: Cedi...deh cedi! - Vincenzo Bellini
• Norma: Scene One: Si, fino all'ore estreme - Vincenzo Bellini
• Norma: Scene Two: Non parti? - Vincenzo Bellini
• Norma: Scene Two: Guerrieri! a voi venirme - Vincenzo Bellini
• Norma: Scene Two: Ah! del Tebro al giogo indegno - Vincenzo Bellini
• Norma: Scene Three: Ei torner . Si! - Vincenzo Bellini
• Norma: Scene Three: Squilla il bronzo del Dio! - Vincenzo Bellini
• Norma: Scene Three: Guerra! guerra! - Vincenzo Bellini
• Norma: Scene Three: Ne compi il rito, o Norma? - Vincenzo Bellini
• Norma: Scene Three: In mia man alfin tu sei - Vincenzo Bellini
• Norma: Scene Three: Gi mi pasco ne' tuoi sguardi - Vincenzo Bellini
• Norma: Scene Three: Dammi quel ferro! - Vincenzo Bellini
• Norma: Scene Three: Qual cor tradisti - Vincenzo Bellini
• Norma: Scene Three: Norma! deh! Norma, scolpati! - Vincenzo Bellini
• Norma: Scene Three: Deh! Non volerli vittime - Vincenzo Bellini