BaL 28.11.15 - Bellini: Norma

[David-G]

That is certainly true - especially for Norma in Edinburgh!

[jean]

Whereas, I find it frustrating and intriguing that you do not appreciate its manifest beauties!

So do I!

just put all thoughts of Rossini and Donizetti aside, this is different. If Wagner liked it....see here

No, don't - Bellini is special but I love Donizetti and Rossini and I couldn't care less what Wagner thought.

[Nick Armstrong]

So do I!


No, don't - Bellini is special but I love Donizetti and Rossini and I couldn't care less what Wagner thought.

Well I think I'll just lie back and listen to Die Meistersinger...

[Richard Tarleton]

Cosima's Diaries, August 3rd 1872: "R sings a cantilena from I Puritani and remarks that Bellini wrote melodies lovelier than one's dreams"

[jean]

I know. But if I'd read that before hearing the aria, I would not have bothered!

So I'm very glad I didn't.

[jean]

...my love of opera ends with Fidelio and begins again with Britten....

I find it very hard to think of Fidelio as earlier than Bellini - or Rossini or even Donizetti, for that matter.

[ardcarp]

Joan Sutherland sings "I know that my Redeemer Liveth" transposed up a tone in the Bonynge recording of Handel's Messiah.

Good God. Hope nobody tries it with continuo instruments tuned to HIPP temperaments. F sharp major sounds horrible.

[BBMmk2]

I'm not.

Your right, ofcourse, Cali! :)

[CallMePaul]

I had to miss the last few minutes of this but could tell that Roger Parker was steering us towards Callas. A fine singer in the 50s and early 60s, although I have to say that I preferred the Bartoli version from the excerpts played. However, one issue, important for me and probably others, is the issue of completeness. At one time it was common practice to make cuts in a number of operas, in recitative but also in second halves of arias/ choruses. I understand that all Callas versions of Norma suffer from cuts that were normal in her time - I suspect that Callas never sang in an uncut version of this opera. Most conductors and producers these days insist that operas are performed uncut (unfortunately I missed the recent Opera North Norma so cannot comment on its completeness or otherwise). Both the last Sutherland and the Bartoli versions are performed complete and this for me is a good reason for preferring either. I intend to purchase (or ask Santa to give me) the Bartoli version, which was by some distance my preferred version, enhanced by its fidelity to the score and its completeness.

[underthecountertenor]

https://www.youtube.com/watch?v=FIQQv39dcNE

I was sorry that Mr Parker dismissed the 'howling gale' Orange Norma so summarily, without at least giving Caballé's wondrous Casta Diva a special mention. Thanks, HighlandDougie, for rectifying the omission.

[underthecountertenor]

Excellent review, full of careful technical analyses, and reasoned choice.
I'm afraid Sutherland still does it for me, and Bartoli deffo NOT. Bit surprised at his praise for it.
But what was fine about this review was that it made me re-think my acceptance of Sutherland in competition with other distinguished practitioners. Exactly what CD review's BAL should do, of course - challenge us.

Right with you re Bartoli. Everyone tells me I should like her, and I do admire her in a way. But I think I'm allergic to her mannerisms and, to an extent, her voice. Sutherland is great of course, but I find her her frequent mooning wordlessness hard to take. She and Callas are chalk and cheese of course, and with Callas I'm prepared to take the rough with the smooth. But (as above) my admiration for Caballé in this role is boundless.

[Nick Armstrong]

Bartoli ... I think I'm allergic to her mannerisms and, to an extent, her voice.

Shared!

[ardcarp]

Hmmmm. I thought she sounded rather good in this repertoire. I must admit I'm not fond of her machine-gun-fire semiquavers in Baroque music.

[martin_opera]

Just caught up with this but Roger Parker did skirt over a few great performances that I thought I'd mention. Chiefly the Adalgisa of Fiorenza Cossotto who appears on both the Souliotis recording and helps make the Greek soprano seem less wayward (the recording is still worth a listen and is now at bargain price - worth anyone's money to hear "Verdi's" Norma) AND the Caballe Cillario RCA version. The latter is not as great as her live performance in 1974 (wind and all - not sure why Parker is allergic to this - it's tremendous). Not sure why Beverley Sills seemed to get more attention than Caballe? He rightly gave credence to the Scotto but ignored the great Pollione from Giuseppe Giacomini on that recording. I think he had made up his mind that he didn't like an heroic tenor singing the role so discounted (quite rightly Del Monaco) but Vickers and Giocomini too which is a shame. But perhaps the greatest shame is that he didn't mention the Edita Gruberova and Elina Garanca live recording under Friedrich Haider. This is a very modern, highly detailed performance by Gruberova who brings a lifetime of lessons learned singing bel canto and astonishing breath control to the role but creates such detail too and is not afraid to harden the voice to make detailed points (perhaps too much). Garanca is also excellent - in all I personally think the modern recording to have.

[Beppe]

9.30 a.m.

Building a Library: Roger Parker compares recordings of Bellini's great opera, Norma. The story of love, jealousy and betrayal is set to music that is at once lyrical, passionate and dramatic.

***Montserrat Caballe, Georges Prêtre

I believe you are talking about this one, which came in my Complete Bellini Operas box set.

Bellini: Norma 2:25:20
Torino della RAI Sinfonica Orchestra, Torino della RAI Choir
Georges Prêtre
Montserrat Caballé (soprano), Ivo Vinco (bass), Fiorenza Cossotto (mezzo-soprano), Robleto Merolla (tenor), Anna Maria Balboni (soprano), Mino Venturini (tenor)


I listened to Norma for the first time in my life yesterday and it was this one. AWESOME performance. Love it. I have only heard one other and it was not near as good.

Interesting this is the one of all you listed that hast *** next to it.