Vincenzo Bellini, Tullio Serafin, Maria Callas, Christa Ludwig, Franco Corelli, Nicola Zaccaria, Piero de Palma - Bellini - Norma / Maria Callas, Ludwig, Corelli, Zaccaria, Teatro alla Scala, Serafin

Running Out of Superlatives

There is not much more that can be said about this recording. It is one of the finest performances on CD. The pairing of Callas and Corelli is one for the ages and results in a performance that will not be bettered. The other singers, especially Christa Ludwig, all add to the magnificence of the proceedings. Tullio Serafin directs it all demonstrating his great knowledge and experience with the score and his performers. Norma is one of most dramatic operas in the literature and Callas and Corelli are inspired playing off of each other in their roles. Although an older recording, the sound is excellent. This is opera at its best. September 20, 2008

do you hear her voice?

do you people hear callas' voice? it is not even "average" on this recording. her voice had been in decline before this and her worst days ahead can be heard from time to time on this album. i cringe when i hear her mangle so many high notes. however, as is often the case with a callas recording, the rest of the cast is excellent, allowing one to overlook her less glaring faults.
her interpretation is, as always, impeccable and she was probably a sight to see on stage... but the voice is going here and nearly gone. if you must have callas, at least get the earlier mono recording. August 26, 2008

A Great Recording

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. May 22, 2008

all-star cast

This recording is exactly what you would expect from an all-star cast.

Owners of the Schirmer piano score, watch out for cuts from page 44 to 48, 76 to 80, and 106 to 107. The endings of bth acts are also different. June 12, 2007

2 Callas Normas. Which to get.

If you are trying to decide between the two studio recordings of Norma with Callas, I offer some advice. Get them both. The later recording is quite beautiful and better recorded. The earlier has a fresher sounding Callas but she does have more dramatic insight in that later recording. Ludwig is a nice treat in a bel-canto role. Overall, I highly recommend! November 12, 2006

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