# Recommended version of Bellini's Norma



## crmoorhead (Apr 6, 2011)

Beginner here. I was wondering if anyone could shed any light on which would be be the best choice for a first listen of Bellini's Norma. Both CD and DVD options would be preferable, thanks.


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## mamascarlatti (Sep 23, 2009)

I have this CD and I love it:










Caballé is an amazing Norma and the supporting cast is excellent.

Check out her "Casta Diva". This exists on DVD but I don't have it, although I think Alma is very keen on it.


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## Almaviva (Aug 13, 2010)

This was the result of our Norma contest in our Talk Classical Most Recommended Opera DVDs thread:

*# 31 Norma
Most Recommended Version:*
*Picked by 2 out of 3 voters (66.6%) among 2 nominated versions out of 15 existing versions *
*2007(LI) - Carella Giuliano - Gran Teatro del Liceo*
*







*

*Runner-up: picked by 1 out of 3 voters (33.3%)*
*1974(LI) - Patanè Giuseppe - Teatro Regio di Torino*









As you can see, Caballé's Orange performance referenced above made runner-up, but it was a low-vote contest. I love it. It's got bad sound, lots of wind, it's an outdated film, but it has a historical, magical quality in my opinion, it should be watched at least once by every opera lover. I also own the one that won the contest, but don't like it very much.


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## DarkAngel (Aug 11, 2010)

For someone new to Norma start with one of these stereo versions featuring two of the greatest sopranos of the stereo era:

-Sutherland
-Caballe

 

This is the early 1964 Sutherland release (not the later one with Pavoratti) when she had clear voice and staggering vocal range, strong support from young Maryln Horne, the very best version for many. The 1960s Caballe has extremely strong supporting cast, a balanced beautiful presentation but not the most dramatic......perhaps I am just under a Callas spell and her technique has forever biased me. I give a slight edge to the 1964 Sutherland

Once you have your feet wet you go for the supreme Norma of the last 60 years Maria Callas.

 

The early mono version (black) has Maria in full command of awe inspiring full range bel canto technique, unmatched power and dramatic impact. The later stereo (blue) in very popular because of much stronger supporting cast in Corelli and Ludwig, but Maria's vocals are in decline here, very insightful nuanced performance that still eclipses her rivals

Then if/when you are ready for the* ultimate Norma* you get the live 1955 Divina label performance (expensive), how do you top studio Callas......live of course, includes a staggering collection of bonus rare high quality 120+ photos on CD documenting this Norma production and backstage activities. For experienced hardcore Norma fans a gift from the opera gods......


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## Aramis (Mar 1, 2009)

OCH GOD OCH MAN OCH GOD OCH MAN OCH GOD OCH MAN OCH GOD

Don't get any of those DVDs from post #3, it's bad idea, very bad.

Get either this CD that DarkAngel recommended above me: Corelli/Callas/Serafin or the other one with Callas and Mario del Monaco instead of Corelli, but the latter must be remastered version, otherwise it's hard to listen.

I would suggest the Corelli/Callas/Serafin CD the most. It was my first Norma too and it brought me two great musical loves that I still have: to Bellini and to tenor Franco Corelli which has the most unique and beautiful voice.

Just hear:


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## DarkAngel (Aug 11, 2010)

*Aramis you are so right.......*

Corelli is a commanding voice wonderfully nuanced and italianate, love his natural rolling trills....bravo


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## Almaviva (Aug 13, 2010)

It is true that Norma on DVD doesn't have the most successful versions - either not so good modern versions, or technically deficient older versions. But since many like to watch their operas rather than just listen to them, I added here the result of our DVD contest for Norma, taking care of saying that it was a low-vote one, that I don't like the winner, and that the runner-up has lots of technical difficulties. But it's hard to deny that Montserrat Caballé delivers the goods in her Orange DVD.


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## crmoorhead (Apr 6, 2011)

Thanks to all for the helpful responses!  I wanted DVD options because my first opera on DVD really seemed to contribute to my understanding of the opera. After all, opera is half visual by nature. It just seems that I picked a bad one to be represented on DVD. I will be buying at least one CD version for sure - perhaps the Sutherland and blue Callas version. Will let you know when I purchase. 

EDIT: Oh, Corelli sounds amazing. Thanks for that!


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## Ukko (Jun 4, 2010)

Liszt: Réminiscences de Norma (Hamelin and many others). The best of his operatic 'extractions'. Improves on Bellini.

:tiphat:


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## Aramis (Mar 1, 2009)

Hilltroll72 said:


> Liszt: Réminiscences de Norma (Hamelin and many others). The best of his operatic 'extractions'. Improves on Bellini.
> 
> :tiphat:


I don't dig this piece. It doesn't catch essence of opera IMO. One of least successful opera fantasies for piano I've heard.


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## Ukko (Jun 4, 2010)

Aramis said:


> I don't dig this piece. It doesn't catch essence of opera IMO. One of least successful opera fantasies for piano I've heard.


It captures the essence of the* story*, quite successfully.

"IMO" is always assumed in my posts; not everyone shares my powers of analysis.


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## sabrina (Apr 26, 2011)

Callas is unbeatable as Norma, even in her 1960 recording. Franco Corelli is out of this world.










Or an even better Callas, but an older, mono recording:


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## Almaviva (Aug 13, 2010)

Norma is Callas vs. Caballé... it's hard to know which one was better. Let's just say that they were both great.


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## BalloinMaschera (Apr 4, 2011)

either the Callas/Corelli/Ludwig
or the Sutherland/Pavarotti / Caballe


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## sabrina (Apr 26, 2011)

*The best Norma on DVD?*

I have Norma on CD and mp3. I'd love to watch it, but I have no idea what to chose. I love Maria Callas, but she has no video recording of this opera. I know Montserrat did a wonderful Norma in 1974, but what about the sound quality of an outdoor recording? Edita Gruberova was too old when she did it. About others I don't know anything.
:tiphat::tiphat::tiphat:

Edit: Sorry! Before posting I did search for Norma, but I could not find something similar. I later realized, there is a post about Norma. I am focused on DVD only though...


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## DarkAngel (Aug 11, 2010)

sabrina said:


> I have Norma on CD and mp3. I'd love to watch it, but I have no idea what to chose. I love Maria Callas, but she has no video recording of this opera. I know Montserrat did a wonderful Norma in 1974, but what about the sound quality of an outdoor recording? Edita Gruberova was too old when she did it. About others I don't know anything.
> :tiphat::tiphat::tiphat:
> 
> Edit: Sorry! Before posting I did search for Norma, but I could not find something similar. I later realized, there is a post about Norma. I am focused on DVD only though...


Check the Bellini on DVD and Blu ray thread for discussion of several versions available with pros and cons for each, my pick is Cedolins..........

beautiful Fiorenza gives us a great performance of the druid priestess in modern picture/sound, wonderful production but supporting cast could be better........extended ovation below after casta diva well deserved


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## Almaviva (Aug 13, 2010)

sabrina said:


> I have Norma on CD and mp3. I'd love to watch it, but I have no idea what to chose. I love Maria Callas, but she has no video recording of this opera. I know Montserrat did a wonderful Norma in 1974, but what about the sound quality of an outdoor recording? Edita Gruberova was too old when she did it. About others I don't know anything.
> :tiphat::tiphat::tiphat:
> 
> Edit: Sorry! Before posting I did search for Norma, but I could not find something similar. I later realized, there is a post about Norma. I am focused on DVD only though...


Not only what DG said is correct, but we also have a whole thread with the most recommended DVDs for each of our top 100 operas, including Norma. It can be found as a sticky in the Opera on DVD and Blu-ray subforum.


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## sabrina (Apr 26, 2011)

Almaviva said:


> Not only what DG said is correct, but we also have a whole thread with the most recommended DVDs for each of our top 100 operas, including Norma. It can be found as a sticky in the Opera on DVD and Blu-ray subforum.


Thanks!
I am sorry for starting this post. I just can't decide what Norma DVD is good enough for me. I tried to check before for a posting with a similar title, and the result looked like negative. After posting, I realized there is a relatively similar question even on the same page. I even answered to that post, but I just felt it was about whatever CD/DVD. I've completely forgotten. If anybody is capable, this post may be deleted. I made a mistake!

Edit: Angel, thanks for the video. Great rendition of Casta Diva, but I still miss Callas' Norma. I am so sad she could not leave any filmed Norma, Traviata, Il Barbiere, as she is the best Norma, the best Violeta and the best Rosina ever. And as a bonus, her partners were Gobbi, Corelli, Di Stefano...
In Norma, I also like Monserrat Caballe and Angela Gheorghiu.


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## DarkAngel (Aug 11, 2010)

sabrina said:


> Thanks!
> Edit: Angel, thanks for the video. Great rendition of Casta Diva,* but I still miss Callas' Norma*. I am so sad she could not leave any filmed Norma, Traviata, Il Barbiere, as she is the best Norma, the best Violeta and the best Rosina ever. And as a bonus, her partners were Gobbi, Corelli, Di Stefano...
> In Norma, I also like Monserrat Caballe and Angela Gheorghiu.


Have you seen this short snippet of Norma (our Maria) preparing her followers for the day when they will rise up and crush the roman eagle, we are with you priestess Norma!


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## Almaviva (Aug 13, 2010)

sabrina said:


> Thanks!
> I am sorry for starting this post. I just can't decide what Norma DVD is good enough for me. I tried to check before for a posting with a similar title, and the result looked like negative. After posting, I realized there is a relatively similar question even on the same page. I even answered to that post, but I just felt it was about whatever CD/DVD. I've completely forgotten. If anybody is capable, this post may be deleted. I made a mistake!
> 
> Edit: Angel, thanks for the video. Great rendition of Casta Diva, but I still miss Callas' Norma. I am so sad she could not leave any filmed Norma, Traviata, Il Barbiere, as she is the best Norma, the best Violeta and the best Rosina ever. And as a bonus, her partners were Gobbi, Corelli, Di Stefano...
> In Norma, I also like Monserrat Caballe and Angela Gheorghiu.


Don't worry, Sabrina. No harm done. I have merged the two threads.


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## sabrina (Apr 26, 2011)

DarkAngel said:


> Have you seen this short snippet of Norma (our Maria) preparing her followers for the day when they will rise up and crush the roman eagle, we are with you priestess Norma!


OMG! Dark Angel, I love you! I had no idea there is a recording with Maria Callas as Norma! And this is even better than the surprise recording from Traviata. Thank you! Thank you!:tiphat:


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## Almaviva (Aug 13, 2010)

Callas recorded Norma 9 times, the first one in 1950 and the last one in 1965, in various audio media.
There is no complete recording of Norma with Callas in visual media.


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## sabrina (Apr 26, 2011)

I have some old recordings on DVD: Turandot with Corelli:










And again Corelli:










I love them both in spite of their bad quality video and limited audio. I wonder, if they have/produce anything similar with Maria Callas in a full opera on DVD.


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## DarkAngel (Aug 11, 2010)

sabrina said:


> I have some old recordings on DVD: Turandot with Corelli:
> 
> I love them both in spite of their bad quality video and limited audio.
> 
> *I wonder, if they have/produce anything similar with Maria Callas in a full opera on DVD*.


*No full opera DVD exists*.......only extended staged scences of Tosca, Paris 1958 and ROH (covent garden) 1964


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## Almaviva (Aug 13, 2010)

I have ordered the Covent Garden from a discount store a while ago, they haven't shipped it yet, I'm starting to get worried. But in any case, my question is: is the Paris one much better, with a younger voice? Is it imperative to have it once one has the Covent Garden one, for someone like me who likes Callas very much but is not completely crazy about her like... I mean... people like you? I mean, I know you'll say that for you, it's imperative to have both, but for me, are they similar enough that I'll be fine with only one?


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## DarkAngel (Aug 11, 2010)

Almaviva said:


> I have ordered the Covent Garden from a discount store a while ago, they haven't shipped it yet, I'm starting to get worried. *But in any case, my question is: is the Paris one much better, with a younger voice?* Is it imperative to have it once one has the Covent Garden one, for someone like me who likes Callas very much but is not completely crazy about her like... I mean... people like you? I mean, I know you'll say that for you, it's imperative to have both, but for me, are they similar enough that I'll be fine with only one?


*Yes the paris "toujours" is the best single Callas DVD*......not only do you get extended act 2 of Tosca but a recital of many of her famous arias in much better voice than 1964 era Callas

*Second best Callas DVD.......*1959 Hamburg recital (includes later 1962 Hamburg recital)









*
*1959 Hamburg sample:


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## schigolch (Jun 26, 2011)

The recommendations in the thread are solid. The CD with Callas / Stignani / Filippeschi and the DVD with Caballe / Veasey / Vickers are outstanding.

Just to introduce another wonderful _Norma_, most probably all of you know about the Callas cancellation at Rome, in '58, and her replacement by Anita Cerquetti, that was singing also _Norma_ at the time, at Naples.

There is a recording of this magical evening, with a superb Cerquetti alongside Corelli and Miriam Pirazzini. If you love _Norma_, most probably you will love this:






On DVD, I will go for one version with the best Norma singing the role today, in my opinion, the greek soprano Dimitra Theodossiou:


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## wonderful (Jul 4, 2011)

I love it .thanks.


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## HarpsichordConcerto (Jan 1, 2010)

I just picked up a version of _Norma_ that trumps it all. 

June Anderson (Norma), Daniela Barcellona (Adalgisa), Shin Young Hoon (Pollione), Ildar Abdrazakov (Oroveso), Svetlana Ignatovitch (Clotilde), Leonardo Melani (Flavio). Orchestra Europa Galante (on period instruments), Fabio Biondi (conductor) & Roberto Andò (stage director); 2001.

Many of you might well know the early music band Europa Galante under Fabio Biondi, who normally excels in historically informed performances of Baroque and Classical repertoire. So, when this reputable band puts on a Romatic period opera, it sure does arouse interest amongst HIP fans. Justifiably so. You see, _Norma_ premiered in 1831, not that well into the Romantic relatively speaking; Beethoven's ninth symphony premiered only seven years earlier in 1824. Under Biondi, this opera does not sound like a grand Verdi opera nor a Wagner epic. The transparency of the early Romantic score becomes especially revealing with obvious late Classical structures; original instruments, orchestral and singing pitch, and key. The staging is sensible, what you would expect - Roman - and nothing is distracting, everything subservient to the plot and music, without an egotistical modern stage director asserting his own ugly fingerprints.

I enjoyed it.


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## Almaviva (Aug 13, 2010)

Wow, finally a really satisfactory Norma on DVD! I hope I like this performance as much as you did. I'll place it on my wish list (Gergiev's Les Troyens and the new Rusalka are priorities right now, but I've spent too much money recently and I'm trying to pause a bit).


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## schigolch (Jun 26, 2011)

The staging is.... well, it's better to watch and then judge. 

About the musical results, it's indeed a fascinating _Norma_. I was thrilled when I listened to this, specially the end of the first act. There are some annoying things, like the continuum or the fact that the singers were not fully buying the brother Biondis' approach, but all in all a very interesting experience. Of course the worst was the performance of the brave, young, but desperately inadequate tenor. Let's hear in his place Gregory Kunde, also with Biondi and Europa Galante:






Of course, there have been other bel canto operas performed with period orchestras. A couple of nice ones:


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## DarkAngel (Aug 11, 2010)

HarpsichordConcerto said:


> I just picked up a version of _Norma_ that trumps it all.
> 
> June Anderson (Norma), Daniela Barcellona (Adalgisa), Shin Young Hoon (Pollione), Ildar Abdrazakov (Oroveso), Svetlana Ignatovitch (Clotilde), Leonardo Melani (Flavio). Orchestra Europa Galante (on period instruments), Fabio Biondi (conductor) & Roberto Andò (stage director); 2001.
> 
> ...


*Looks promising from short clip*...........unfortunately it is not widescreen format 

Love the rustic animal pelt wardrobe for the druid priestess, the usual weak spot of modern Normas is the Pollione part (here with Shin Young Moon????) which never come close to measure up to the likes of Corelli, Del Monaco, Vickers etc from past


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## DarkAngel (Aug 11, 2010)

Just noticed these two modern era Normas share the* same Adalgisa in Daniella Barcelona*......


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## BBSVK (10 mo ago)

I have to agree, that no Norma on DVD is perfect.

I managed to fall in love with this opera under imperfect circumstances, i.e. watching the recording of Joan Sutherland in Sidney. She was great, but visually, it needed a lot of suspension of disbelief, she looked like grandmother not only to "her children", but possibly even to Pollione. And I did not really like Pollione and Oroveso. But it worked.

However, if you find a really good Norma, let me know.

(I know some people are into recording with Radvanovsky from MET now, but I am still not satisfied. )


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## Tsaraslondon (Nov 7, 2013)

BBSVK said:


> I have to agree, that no Norma on DVD is perfect.
> 
> I managed to fall in love with this opera under imperfect circumstances, i.e. watching the recording of Joan Sutherland in Sidney. She was great, but visually, it needed a lot of suspension of disbelief, she looked like grandmother not only to "her children", but possibly even to Pollione. And I did not really like Pollione and Oroveso. But it worked.
> 
> ...


On video I like most the one from Orange with Caballé, Vickers and Veasey. It's an old school, traditional production but the singing is spectacular and the outdoor setting works very well.

On CD, the most outstanding performance is the one from La Scala in 1955, with Callas, Simionato and Del Monaco. I've reviewed it on my blog where I have also reviewed Callas's two studio performances and the 1952 Covent Garden one. 

If I have these in my collection I don't really feelI need any others.


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## BBSVK (10 mo ago)

Tsaraslondon said:


> On video I like most the one from Orange with Caballé, Vickers and Veasey. It's an old school, traditional production but the singing is spectacular and the outdoor setting works very well.
> 
> On CD, the most outstanding performance is the one from La Scala in 1955, with Callas, Simionato and Del Monaco. I've reviewed it on my blog where I have also reviewed Callas's two studio performances and the 1952 Covent Garden one.
> 
> If I have these in my collection I don't really feelI need any others.


For DVD, Caballe in Orange is possibly the best, but the sound is not always clear, It is not an idiotproof version I would recommend to somebody new to this opera without some disclaimers. Although, is idiotproof even necessary, since I did not need it myself ? Another reservation about the Orange performance I have is, that the timbre of John Vickers is so weird. Is there a name for it ? Raspy ? Or what ? I know, for many, he is the best Pollione ever, but I cannot get used to him. Funny thing is, I have heard him in Samson and Dalila recently, and there, he just sounded like a normal tenor, I still cannot believe it is the same singer.

For audio only, I totally agree with you, I also prefer Callas with del Monaco in 1955.


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## BBSVK (10 mo ago)

Btw glad to know about your blog.


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## Tsaraslondon (Nov 7, 2013)

BBSVK said:


> For DVD, Caballe in Orange is possibly the best, but the sound is not always clear, It is not an idiotproof version I would recommend to somebody new to this opera without some disclaimers. Although, is idiotproof even necessary, since I did not need it myself ? Another reservation about the Orange performance I have is, that the timbre of John Vickers is so weird. Is there a name for it ? Raspy ? Or what ? I know, for many, he is the best Pollione ever, but I cannot get used to him. Funny thing is, I have heard him in Samson and Dalila recently, and there, he just sounded like a normal tenor, I still cannot believe it is the same singer.
> 
> For audio only, I totally agree with you, I also prefer Callas with del Monaco in 1955.


Vickers is one of my favourite tenors, so I like him in the role.

Did you know that Callas wanted him to sing Pollione for her final Normas in Paris, but he declined, saying he couldn't sing the top C in his aria. You will note that he omits the note in Orange, so maybe he regretted his decision.


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## BBSVK (10 mo ago)

Tsaraslondon said:


> Vickers is one of my favourite tenors, so I like him in the role.
> 
> Did you know that Callas wanted him to sing Pollione for her final Normas in Paris, but he declined, saying he couldn't sing the top C in his aria. You will note that he omits the note in Orange, so maybe he regretted his decision.


Yes, I can believe, he probably regretted it later.

The first Pollione was more like barritone and sung the high C in falsetto. Do you think, the tenors, which cut high C away could sing it in falsetto, if they tried ?


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## Tsaraslondon (Nov 7, 2013)

BBSVK said:


> Yes, I can believe, he probably regretted it later.
> 
> The first Pollione was more like barritone and sung the high C in falsetto. Do you think, the tenors, which cut high C away could sing it in falsetto, if they tried ?


Some might be able to, I suppose.


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## schigolch (Jun 26, 2011)

Well, in Bellini's own times, all the tenors were singing in falsettone the high notes. The first Pollione himself, Domenico Donzelli, was using this technique for anything above a G3.

Bellini wanted for the role not Donzelli, but Rubini, only he was not available for the premiere (later, Rubini sang the role at Théâtre des italiens, with Bellini already dead), and he adapted a bit the role to Donzelli's voice.

The voice of Donzelli was rather limited as a coloratura performer. He was the owner of baritonal-like voice, that was singing in full voice up to the high G, and then, using 'falsettone' was able to sing up to a high C (in "Meco all'altar di Venere", Bellini tried to use the capabilities of Donzelli, but he marked the high C as optional, nevertheless).

Of course, we can't know for certain what falsettone was, as of course there are not any recordings from the early 19th century. It was used not in all the tessitura, but only for the high notes. And the note from which it was used was different for each singer. For Rubini himself it was most probably the high C itself, or high B flat.

Also, falsettone was surely a mixed emission, including resonances from the head voice, but also some from the chest voice. In Italian, it has been described as 'pieno con consonanza di testa'. Personally, I don't think it was something fundamentally different (humans being humans in the 19th century, too) to what we can hear sometimes in the recordings of Gigli, or David Devriès.

The feared C4 in Pollione's cavatina, in the repetition of 'sensi':

_Meco all'altar di Venere
era Adalgisa in Roma,
cinta di bende candide,
sparsa di fior la chioma;
udia d'Imene i cantici,
vedea fumar gl'incensi,
eran rapiti i sensi
di voluttade e amor_

Has been handled in different ways: just singing the C4, not singing the C4, produce the C4 in 'voluttade', because it' easier than giving the high note on the 'i',... All of them were approved by Bellini himself before his death.

I do prefer to go for the C4, but it's not something essential. It's more important to be able to read into the score and the character. Carlo Bergonzi never sang the C4, but was a great Pollione.


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## The Conte (May 31, 2015)

I don't have much to add to the previous posts. The best all round Norma on CD for a beginner is the 1960 Callas/Corelli/Ludwig/Serafin. Callas gives a better performance (both vocally and from the point of view of expression) in the live 1955 La Scala recording (available from Divina Records or Myto, all other releases of this recording are in inferior sound) though.

For those who find it difficult to appreciate La Divina, the only two sopranos who have recorded the complete role with any success are Caballe and Sutherland. I have the Caballe/Domingo set (but only because it was included in the RCA box set where I was more interested in the recital albums) and the Sutherland/Pavarotti. Sutherland's first recording with Marilyn Horne is very well regarded, but I am not quite enough of a Sutherland fan to find it necessary in my collection.

DVD options are more problematic. As already noted, there's no complete audio-visual record of Callas in the role and Sutherland loses out by being captured with weak supporting casts, later on in her career and the visual aspect of opera performance was never her strong suit. Therefore we are left with Caballe at Orange.

I don't like the overwhelming majority of Norma DVDs as most of the sopranos give nowhere near a powerful enough performance to encompass the rather complex title role. There's just one that I think it is worth seeing, if not buying (although I have it on DVD) and that is the one from Macerata with Dimitra Theodossiou, Carlo Ventre and Daniela Barcelona. This would be my choice for first timers as the sound on the Orange film is rather unsatisfactory.

N.


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## BBSVK (10 mo ago)

schigolch said:


> The feared C4 in Pollione's cavatina, in the repetition of 'sensi':
> _..._
> Has been handled in different ways: just singing the C4, not singing the C4, produce the C4 in 'voluttade', because it' easier than giving the high note on the 'i',...


Thank you, I finally understand, why they sometimes change the word order !

Do you have any insight, why so many tenors suffer at "la prima fiamma" in the initial recitative - dialogue with Flavio ? It is my private sadistic pleasure to go check that part, when new Norma turns up on youtube.


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## BBSVK (10 mo ago)

The Conte said:


> For those who find it difficult to appreciate La Divina, the only two sopranos who have recorded the complete role with any success are Caballe and Sutherland.
> N.


For sound only, I would add Leyla Gencer. I had a period of time, when I prefered her to Callas (later I switched back to Callas, though). Also, Bruno Prevedi as her Pollione has a beautiful dark voice, he actually started as a baritone.

For DVD, I am capable of being happy with several sopranos, actually. That is my blessing as an amateur, who does not know how exactly "nelle fiamme perrira" should sound, for instance. But there is always something else that irritates me at those DVDs. For instance the blind and thus vulneeable looking Pollione next to June Anderson.


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## nina foresti (Mar 11, 2014)

For one who is alive and well in today's round-up of talents, Sondra Radvanovsky fits the Norma bill like a glove.
It makes me uncomfortable to attempt to compare her with anyone who is dead.
Bellini would be proud.


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## BBSVK (10 mo ago)

I deleted this response.


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## schigolch (Jun 26, 2011)

BBSVK said:


> Thank you, I finally understand, why they sometimes change the word order !
> 
> Do you have any insight, why so many tenors suffer at "la prima fiamma" in the initial recitative - dialogue with Flavio ? It is my private sadistic pleasure to go check that part, when new Norma turns up on youtube.


Not sure what you mean by "suffer".

'Svanir le voci' is an accompanied recitative in G minor, that demand suppleness and expresiveness from the tenor singing Pollione, but technically it's not that difficult to manage. In fact, 'fiamma' must be sung exactly as 'spense'. There is a small jump between 'spen_ta' and the initial 'la', but nothing to write home about. 

If you tell me one specific example, will share with you my impressions.


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## Seattleoperafan (Mar 24, 2013)

Sutherland does a live video from Australia and she proves people wrong who say she can't act. She still sang well up in her late 50's in my opinion and she spits fire in the big trio. It is on Youtube. The other singers are fine and the camera work is very good. Yes Callas is better but we don't have her on video.


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## BBSVK (10 mo ago)

...


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## Jan Arell (7 mo ago)

I’d go for the second studio Callas, with Christa Ludwig and Franco Corelli on EMI/Warner. It’s in stereo, Callas is still in good voice and Ludwig never made a bad recording. On dvd, try to find that Caballé performance where she defeats the Provencal storm (i think it’s in mono only)


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## Op.123 (Mar 25, 2013)

Callas, del Monaco, Simionato / Votto (1955)


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## Tsaraslondon (Nov 7, 2013)

Op.123 said:


> Callas, del Monaco, Simionato / Votto (1955)


Heard to its best advantage on Divina Records or from Pristine, this is my favourite of all the Callas Normas.


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## The Conte (May 31, 2015)

Tsaraslondon said:


> Heard to its best advantage on Divina Records or from Pristine, this is my favourite of all the Callas Normas.


The Pristine disproves nominative determinism and the processing means that some details get lost (the audience reaction to 'Son io' isn't anywhere near as clear as on Divina). For those who want CDs and don't have the means to make their own CDRs the Myto release is just as good as the Divina (and was probably copied from it).

Divina:
Maria Callas - Norma (Milan, 7 December 1955) DVN-17 – Divina Records 

Myto:
Vincenzo Bellini, Mario del Monaco, Maria Callas, Giulietta Simionato, Antonino Votto - Bellini: Norma - Amazon.com Music 

These two releases come from a first generation copy of the original tape that was made by someone taping the performance from the radio broadcast. All other releases (as far as I am aware) use sources which are further from the original tape and the sound is murkier.

N.


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## Op.123 (Mar 25, 2013)

The Conte said:


> The Pristine disproves nominative determinism and the processing means that some details get lost (the audience reaction to 'Son io' isn't anywhere near as clear as on Divina). For those who want CDs and don't have the means to make their own CDRs the Myto release is just as good as the Divina (and was probably copied from it).
> 
> Divina:
> Maria Callas - Norma (Milan, 7 December 1955) DVN-17 – Divina Records
> ...


The Pristine issue does erase some audience noise that is more interesting that the usual coughing etc. but at the same time brings a more natural warmth the voices. Still, for those who prefer a less interventionist approach go for MYTO or Divina.


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## Rogerx (Apr 27, 2018)

Seattleoperafan said:


> Sutherland does a live video from Australia and she proves people wrong who say she can't act. She still sang well up in her late 50's in my opinion and she spits fire in the big trio. It is on Youtube. The other singers are fine and the camera work is very good. Yes Callas is better but we don't have her on video.


There is another one from Canada on Vai , Tatiana Troyanos as Adalgisa.


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## MAS (Apr 15, 2015)

Gramophone magazine has a review of the Radvanovsky *Norma *video from the Metropolitan Opera (available on DVD or Blu-ray.









BELLINI Norma (Rizzi)


This is the third filmed version of...




www.gramophone.co.uk


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## MAS (Apr 15, 2015)

Excerpts from the Trieste *Norma *(1953) Callas, Corelli, Nicolai 
Available from divinarecords.com


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## schigolch (Jun 26, 2011)

There is an interesting CD with this content, and some more:


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## MAS (Apr 15, 2015)

schigolch said:


> There is an interesting CD with this content, and some more:


Divina Records have all of the extant excerpts of the Trieste performance. I can’t tell what the CD above contains.


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## damianjb1 (Jan 1, 2016)

The 1960 Callas recording is definitely my favourite but Sutherland's first recording is definitely worthy of consideration. Marilyn Horne's Adalgisa is very beautiful. It's a terrific recording. Much better (IMHO) than Sutherland's second recording.


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## OffPitchNeb (Jun 6, 2016)

I would recommend Bartoli's version for a good laugh. No kidding, it's so bad that it is good (entertaining). The first time I heard her clucked her way through _"In mia man"_, I burst out laughing like a maniac.


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## Seattleoperafan (Mar 24, 2013)

MAS said:


> Gramophone magazine has a review of the Radvanovsky *Norma *video from the Metropolitan Opera (available on DVD or Blu-ray.
> 
> 
> 
> ...


I really enjoyed it. The singing was really good. Radvanovsky was really wonderful in the title role. Not Callas, but then who is.


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## Seattleoperafan (Mar 24, 2013)

What sets Sutherland's early recording apart is the simply jaw dropping high notes she delivers. The D in the trio and the Eb in the last act duet. Only fat Callas could sing such notes above the staff that were equal to Sutherland's here. They are perhaps the greatest of her career in beauty and astonishing size. Not the drama of Callas, but all three principles sing the music with incredible beauty. I am probably alone in this assessment as it was past her early period which is the only one people here besides me like.


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## Tsaraslondon (Nov 7, 2013)

Seattleoperafan said:


> What sets Sutherland's early recording apart is the simply jaw dropping high notes she delivers. The D in the trio and the Eb in the last act duet. *Only fat Callas could sing such notes above the staff that were equal to Sutherland's here*. They are perhaps the greatest of her career in beauty and astonishing size. Not the drama of Callas, but all three principles sing the music with incredible beauty. I am probably alone in this assessment as it was past her early period which is the only one people here besides me like.


I'm not so sure. Thin Callas delivers spectacular top Ds in the trio in the 1955 performances (Rome radio and La Scala) of *Norma*. She produces another stunner in 1957 at the end of the Act I of *Anna Bolena*. Perhaps it had something to do with the fact that they are not exposed, but supported by the full orchestra and other singers.


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## Seattleoperafan (Mar 24, 2013)

Tsaraslondon said:


> I'm not so sure. Thin Callas delivers spectacular top Ds in the trio in the 1955 performances (Rome radio and La Scala) of *Norma*. She produces another stunner in 1957 at the end of the Act I of *Anna Bolena*. Perhaps it had something to do with the fact that they are not exposed, but supported by the full orchestra and other singers.


They are certainly impressive compared to all other sopranos besides Joan but for myself I find these Norma high notes by Sutherland more beautiful and possessing a more complex sound and of greater size than these post weight loss Callas notes. We all hear things differently. Of course what Callas accomplishes with the rest of the role is another matter! Now if you are talking the High D Callas sang in the big aria from Armida before her Audrey Hepburn days, I would say that is my favorite high note of all time in all it's isolated magnificence. The size of that note is not to be believed. I played it for my butch four wheeling beau at the time and he said please turn it off. I should have taken that as an omen our days were numbered.


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