Bellini - Norma / Maria Callas, Ludwig, Corelli, Zaccaria, Teatro alla Scala, Serafin

Bellini - Norma / Maria Callas, Ludwig, Corelli, Zaccaria, Teatro alla Scala, Serafin

Bellini - Norma / Maria Callas, Ludwig, Corelli, Zaccaria, Teatro alla Scala, Serafin
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CD Details

Performer: Orchestra e Coro del Teatro alla Scala
Edition: Music CD
Audio: English (Unknown); English (Original Language); English (Published)
Format: Box set
CD Release Date: 1998-03-17
Music Label: EMI Classics
Soundtracks:
Music CD 1
  1. Norma: Sinfonia
  2. Norma: Act One - Scene One : Ite sul colle...Dell'aura tua profetica (Oroveso)
  3. Norma: Svanir le voci! (Pollione)
  4. Norma: Meco all'altar di Venere (Pollione)
  5. Norma: Odi?.. I suoi riti a compiere (Flavio, Coro, Pollione)
  6. Norma: Me protegge, me difende (Pollione)
  7. Norma: Norma viene
  8. Norma: Sediziose voci
  9. Norma: Casta Diva
  10. Norma: Fine al rito, e il sacro bosco
  11. Norma: Ah! bello a me ritorna (Norma, Oroveso)
  12. Norma: Sgombra e la sacra selva (Adalgisa)
  13. Norma: Eccola - va, mi lascia
  14. Norma: Va, crudele
  15. Norma: Vieni in Roma (Pollione, Adalgisa)
Music CD 2
  1. Norma: Act One - Scene Two : Vanne, e li cela entrambi (Norma)
  2. Norma: Adalgisa!.. Alma, costanza
  3. Norma: Oh, rimembranza!
  4. Norma: Ah si, fa core, abbracciami (Norma, Adalgisa)
  5. Norma: Ma di'... l'amato giovine
  6. Norma: Oh, di qual sei tu vittima
  7. Norma: Perfido! ... Or basti! (Norma, Adalgisa, Pollione)
  8. Norma: Vanne, si, mi lascia, indegno (Norma, Pollione, Adalgisa, Coro)
Music CD 3
  1. Norma: Act Two - Scene One : Introduzione
  2. Norma: Dormono entrambi! (Norma)
  3. Norma: Ola! Clotilde (Norma, Clotilde)
  4. Norma: Mi chiami, o Norma?
  5. Norma: Deh, con te, con te li prendi
  6. Norma: Mira, o Norma
  7. Norma: Cedi ... deh cedi!
  8. Norma: Si, fino all'ore estreme (Adalgisa, Norma)
  9. Norma: Acto Two - Scene Two : Non parti? (Coro)
  10. Norma: Guerrieri! a voi venirne
  11. Norma: Ah!, del Tebro al giogo indegno (Oroveso)
  12. Norma: Acto Two - Scene Three : Ei tornera, Si! (Norma)
  13. Norma: Squilla il bronzo del Dio! (Oroveso, Norma)
  14. Norma: Guerra! guerra!
  15. Norma: Ne compi li rito, o Norma? (Oroveso, Norma, Pollione)
  16. Norma: In mia man alfin ti sei
  17. Norma: Gia mi pasco ne' tuoi sguardi (Norma, Pollione)
  18. Norma: Dammi quel ferro!
  19. Norma: Qual cor tradisti
  20. Norma: Norma! deh! Norrma, scolpati!
  21. Norma: Deh! Non volerli vittime (Norma, Pollione, Oroveso)

Music reviews of Bellini - Norma / Maria Callas, Ludwig, Corelli, Zaccaria, Teatro alla Scala, Serafin

Music Review: CALLAS' ASTONISHING NORMA
Rating: 5 Stars

Well, I think there are two roles in the history of opera that after the interpretation of Maria Callas it would not be unwise to claim that they should not be performed again: Norma by Bellini (all recordings she ever made) and la Traviata by Verdi (the definition of the role lies in the London 1958 Traviata- unfortunately, her 1953 studio recording with Cetra is almost unacceptable considering how she developed the role of Violetta after 1955).
Although I very rarely sit down to write a review at Amazon, after having read so much on Mme Callas, I feel it is my responsibility as a fan of this great art named opera to make the following points:
a)Maria Callas was not an interpreter. She was a creator herself to be placed at the same rank as Donizzeti, Bellini and Verdi. Had it not been for her I doubt that opera would exist today and if it did it would be a sad, boring musuem exhibit. She recreated the whole of Italian Opera -not just bel canto- and modernised it in a way that will make it last for another 100 years aftet her death. I remind you that opera in the 50's meant German Opera. Italian opera before Mme Callas was something of a joke. Terribly abused by singers and a bad tradition of horrendus vocalising, the music of Italian composers had lost its drama, its sense, its meaning.
b)why do people spend so much time judging the voice of this great artist? Why can they not just relax and enjoy this great artistry? No-one says that there no other great singers! But no matter how great, they are unfortunately just that:"singers". Caballe, Sutherland, Sills, Price, Fleming, Dessay all have amazing voices and great carreers. But, comparing them with a phenomenon that was for the opera what Mozart was for classical music simply does not do them justice.
c)Whether we like it or not Norma is a dramatic soprano role! A very difficult one as well and it should be treated with some respect. Caballe and Sutherland, because they had these amazing voices, did manage to sing it and they sang it well. But, as they were not dramatic sopranos they conveyed a lyricism in their interpretation that simply does not suit the role and Bellini's intentions. Other attempts however (Sills and -alas- Gruberova recently)should really remain as textbook examples of how inflated egos can ridicule both theselves and a work of art. I repeat that Norma is a dramatic soprano role. In this sense the only singers that approached the Callas perfection are Elena Suliotis (Decca for reason of expediency or stupidity is not reissuing her marvellous 1968 recording with Del Monaco) and Jane Eaglen in the Sony Muti recording. The only singer that seems to have been taught by the Callas Legacy in Bel Canto is Mme Renata Scotto but she was as well inadequate as Norma and wasted much of her talent singing (for commercial reasons, I suppose) Puccini.
d)Callas has been very unlucky as far as supporting cast is concerned. The 1960 Norma recording is the only exception. It features the amazing Franco Corelli. What a voice this man had! Pefect voice, perfect dramatic conviction, beautiful and clear italian diction. Can we imagine a Callas -Corelli partnership in Aida, Pirata, Manon Lescaut?
e)Callas did not lose her voice even though she overworked it in the 50s. The 1964 Tosca recording is the best proof of that. But she did lose her confidence and emotional stability. This fact led her quit her carreer in 1965 and that is the real tragedy of opera. Had she managed to work as hard in the 60-68 period when all her worry was Ar. Onassis we would have been left with at least 10 amazing stereo recordings. And I say 68 because someone like Callas simply would refuse to play young soprano roles after the age of 45. She believed that opera singers are like ballet dansers or athletes (and they are!), they should retire early. Mme Sutherland had a voice till the age of 60. And so? Is it not ridiculous singing La Sonnambula at the age of 59? If Callas did that she would not be the legend she is!

This is all I wanted to note on a woman that achieved a fame in the world of opera (and beyond!!!) in a way that noone else had before and I am afraid no one else will do so in the future. People had to sleep on pavements for three days and three nights to get a ticket for this lady!
More Bellini - Norma / Maria Callas, Ludwig, Corelli, Zaccaria, Teatro alla Scala, Serafin free music reviews:
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