New Recording of Bellini's Norma

[Guest]

I have waited many years for a decent digital version of Bellini's Norma (the second Bonynge and Muti do not cut it for me) but I never expected this.

A few thoughts:

1. I am sure that Ms Bartoli will be be interesting but wonder how much contrast i.e. fire she can get into her voice to provide a fully rounded protrayal
2. I like Sumi Jo but did immediately wonder whether she still sounds as fresh as she once did - I immediately wondered why not Petibon?
3. The Pollione - John Osborn - seems to be specialising in Donizetti and Bellini (a nice A te o cara on you tube). He was also in the Pappano William Tell and I remember thinking when I heard the Proms broadcast that the tenor was pleasant if a little underpowered.
4. The cover is ridiculous! More Kate Bush than Norma!

I shall approach with huge anticipation - this opera deserves a decent recording to add to the first Bonynge, the Callas editions and (for my sins) the Souliotis/Del Monaco cabaret!

Be grateful for your thoughts and any clips you may have found!

[Richard Tarleton]

Martin - I don't understand why La Bartoli has top billing here - surely she's not singing Norma - she was a mezzo last time I looked? And Sumi Jo is still a soprano, no?

Bartoli's breathy, staccato style sounds a counter-intuitive prospect for Bellini's long, floated legato lines.

It's the Sutherland-Horne combo for me, though I do have the later Bonynge. Callas must have been incomparable on stage, though these days I can't get past that curious gargle in her voice

[LHC]

Although the roles of Norma and Adalgisa are normally assigned to a soprano and a mezzo, a la Sutherland and Horne, I think they are both listed as soprano parts in the score. Furthermore, the role of Norma was written for Giuditta Pasta, whose other roles are often consigned to mezzos now, while Adalgisa was written for a lighter, silvery soprano.

For this recording then, Bartoli has swept aside tradition to reveal something closer to the opera as it was originally conceived. It's also the first recording using original instruments.

I too was surprised to see Sumi Jo on the recording; it must be some time since she featured on a high profile project such as this. Even so, I must admit Petibon wouldn't be my choice as a replacement.

[Barbirollians]

I am a fan of both Bartoli and Sumi Jo and I hope it is good I can hear the quills of bitchy reviewers being sharpened though I fear.

[martin_opera]

http://www.guardian.co.uk/music/musicblog/2013/may/13/cecilia-bartoli-bellini-norma-album-stream

Well I am liking the sound of it!!

[Barbirollians]

A rave review in the Independent on 1/6.

[Il Grande Inquisitor]

My OB colleague also gave it 5 stars (in a review rather longer than the Indy's two paragraphs which entirely avoid comment or mention of Pollione or Oroveso): http://www.opera-britannia.com/index...:cds&Itemid=17

What LHC has written about the original casting of the roles of Norma and Adalgisa is spot on. Giuditta Pasta did indeed sing a lot of what we recognise now as 'mezzo repertoire' and Giulia Grisi, the first Adalgesia, was 21 at the time of the premiere and was later the first Norina, so Bartoli thinks that should be the soprano role. The problem I have with that thesis is this - if Norma is the 'mezzo' role, why - in duet - does Bellini give Norma the higher vocal line?

Sumi Jo, who hasn't been recorded or seemingly done anything high profile for a few years, is a revelation as Adalgisa - definitely worth hearing. John Osborn doesn't have the most ingratiating tone, but copes well with Pollione's demanding tessitura. The period instrument orchestra La Scintilla under Giovanni Antonini (usually found in front of Il giardino armonico) is superb, really showing Bellini as a very competent orchestrator.

Bartoli is, well, Bartoli, and if you don't take to her voice, then avoid... all the mannerisms are there - cooing, crooning tone, aspirates aplenty. I love her in the right repertoire - and I don't think have been many mezzos in the past two decades to touch her in Rossini - but accepting her as Norma requires a big leap of faith. She cites changes in historic orchestral pitch as reason to lower much of the music by a third (rather than the fact that it makes Norma more 'singable' for her voice). For me, the jury's still out, but anyone interested in a very different approach to the opera from Callas, Sutherland et al would be encouraged to give it a listen.

[Beppe]

I do like Bartoli but I got her La Sonnambula, the only mezzo Amina, and it is a very good production, but somehow Bartoli does not seem right for Amina. Perhaps she is a better fit to Norma.