Bellini - Norma / Maria Callas, Ludwig, Corelli, Zaccaria, Teatro alla Scala, Serafin
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Music CD Cover
Performer: Orchestra e Coro del Teatro alla ScalaEdition: Music CD
Format: Box set
CD Release Date: 1998-03-17
Music Label: EMI Classics
Soundtracks:
Music CD 1
- Norma: Sinfonia
- Norma: Act One - Scene One : Ite sul colle...Dell'aura tua profetica (Oroveso)
- Norma: Svanir le voci! (Pollione)
- Norma: Meco all'altar di Venere (Pollione)
- Norma: Odi?.. I suoi riti a compiere (Flavio, Coro, Pollione)
- Norma: Me protegge, me difende (Pollione)
- Norma: Norma viene
- Norma: Sediziose voci
- Norma: Casta Diva
- Norma: Fine al rito, e il sacro bosco
- Norma: Ah! bello a me ritorna (Norma, Oroveso)
- Norma: Sgombra e la sacra selva (Adalgisa)
- Norma: Eccola - va, mi lascia
- Norma: Va, crudele
- Norma: Vieni in Roma (Pollione, Adalgisa)
- Norma: Act One - Scene Two : Vanne, e li cela entrambi (Norma)
- Norma: Adalgisa!.. Alma, costanza
- Norma: Oh, rimembranza!
- Norma: Ah si, fa core, abbracciami (Norma, Adalgisa)
- Norma: Ma di'... l'amato giovine
- Norma: Oh, di qual sei tu vittima
- Norma: Perfido! ... Or basti! (Norma, Adalgisa, Pollione)
- Norma: Vanne, si, mi lascia, indegno (Norma, Pollione, Adalgisa, Coro)
- Norma: Act Two - Scene One : Introduzione
- Norma: Dormono entrambi! (Norma)
- Norma: Ola! Clotilde (Norma, Clotilde)
- Norma: Mi chiami, o Norma?
- Norma: Deh, con te, con te li prendi
- Norma: Mira, o Norma
- Norma: Cedi ... deh cedi!
- Norma: Si, fino all'ore estreme (Adalgisa, Norma)
- Norma: Acto Two - Scene Two : Non parti? (Coro)
- Norma: Guerrieri! a voi venirne
- Norma: Ah!, del Tebro al giogo indegno (Oroveso)
- Norma: Acto Two - Scene Three : Ei tornera, Si! (Norma)
- Norma: Squilla il bronzo del Dio! (Oroveso, Norma)
- Norma: Guerra! guerra!
- Norma: Ne compi li rito, o Norma? (Oroveso, Norma, Pollione)
- Norma: In mia man alfin ti sei
- Norma: Gia mi pasco ne' tuoi sguardi (Norma, Pollione)
- Norma: Dammi quel ferro!
- Norma: Qual cor tradisti
- Norma: Norma! deh! Norrma, scolpati!
- Norma: Deh! Non volerli vittime (Norma, Pollione, Oroveso)
Free Music Notes for Bellini - Norma / Maria Callas, Ludwig, Corelli, Zaccaria, Teatro alla Scala, Serafin
Free Music Review: A Great Recording
Hit: 5 Stars
To begin with, I will say that "Norma" is my favorite opera. I know that many opera-lovers would be surprised by that; this has never been a great favorite of the public. I have heard every studio recording (including Souliotis on LP) and quite a few "pirates". This does not make me an expert, but it does suggest that I have some familiarity with the score (which I play on the piano when I can get my friends to sing with me) and this style of singing. That said, if I could only hear one recording of "Norma", it would he this.
There is an elegance as well as authority in Callas' performance which is unique. When listening to her, you really feel that singing is as natural and normal a mode of communication as speech. This is especially true in the recitatives which are so important in this opera. Her Italian is, in the view of my Italian partner, practically perfect: clear, natural, and idiomatic. All I can say is that I really feel that I am hearing the voice of Norma, not a singer impersonating her. I know that some of you will think "another Callas fanatic", but that is not the case. I listen with a critical ear. Nor do I feel that Callas was the best in each of her roles, but as Norma, I think she is.
Clearly, there are some wobbly and hard moments on high for the diva. So what? It cannot be disputed that Sutherland, Caballe, Milanov, Cerquetti, and Ponselle have better high B's and C's: more secure, more rounded, more pleasant to hear. But Callas' uniquely supple phrasing, EXPRESSIVE and immaculate coloratura (yes, just as good as Sutherland and Sills, just in a much darker color), and singularly dark, & rich vocal color more than compensate. The subtlety of her interpretation always amazes me, despite having heard this record hundreds of times in the past 20 years.
Similarly, Serafin's conducting seems just right to me. Although it must be noted that the maestro uses the traditional Italian performing edition of the score, not the complete autograph which was first recorded by Sutherland and Bonynge in 1964 and has since become the rule.
Corelli is, to my ears, terrific. He really sounds like a very attractive man whom all the girls go for (as they do in the story!). The glorious voice rings out manfully & the words are clear as a bell. A cad, no doubt, but one whose appeal to Norma and Adalgisa is so clear.
I will say that I find Ludwig problematic. An intelligent artist with a vibrant voice, she just does not have the smoothness of production (Callas is very smooth throughout most of her range; you just have to accept the sound of her voice), ease of legato, nor facility in coloratura to be ideal in the role. Nor as the words ideally clear. Rita Gorr was slated to sing the role, but was replaced by Ludwig after having been hurt in a car accident; she would have been a disaster in my view: loud, graceless, & mature-sounding. By contrast, Ludwig sounds young and fresh, a nice contrast to the chesty, matronly mezzos who so often sing the part.
I recommend this recording over Callas's first, if you have to choose between the 2. In this role, Callas' only competition is herself, despite the many lovely and stylish performances by the likes of Cerquetti, Ponselle, Milanov, Sutherland, Caballe, Scotto, Verrett, and even Sills. Listen closely to this recording, read the words, and then sit back and soak up this wonderful performance in the best Italian tradition.
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