# Favorite Bellini Operas



## SixFootScowl (Oct 17, 2011)

Just curious what of Bellini's operas are most liked here at TC. I can probably guess, but a poll will be fun and it is multiple choice so you can pick any number of them from one to ten.


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## Tsaraslondon (Nov 7, 2013)

*Norma* was the first Bellini opera I heard and remains my favourite. It is without doubt a masterpiece, revered by both Verdi and Wagner, but it does need a singer of real stature in the title role to make its effect. Great Normas have been few and far between.

I like *La Sonnambula* and *I Puritani*, but I'm not sure I'd listen to them that often were it not for Callas; ditto *Il Pirata*. I listen to *I Capuleti e i Montecchi* from time to time and I did have the Sutherland studio recording of *Beatrice di Tenda* on LP but it didn't really stick in my mind and I never felt inclined to get it on CD. The others I don't really know.


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## Woodduck (Mar 17, 2014)

_Norma_ was my first Bellini too, and still the only one I care much about. Although I love many of Bellini's melodies, I never listen to his operas unless there's singing/interpretation of the highest calibre. For all practical purposes that means Callas, but there are a few singers from earlier times I'd have gladly heard: Lilli Lehmann, Rosa Ponselle and Frida Leider in Norma, Adelina Patti in Sonnambula, and probably others.


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## Revitalized Classics (Oct 31, 2018)

*Norma* is not just my favourite Bellini but actually my favourite opera of all. A lot of this can be attributed to Callas. Her duet with Corelli, "In mia man alfin tu sei" is superb





*Sonnambula* can be very touching - you would think that the abiding memory would be the spectacle, the coloratura, but I find a lot of the music very moving. 




Schipa and Galli-Curci are ideal - just glorious





*I Puritani *can be superb. I could listen to the last act on repeat until they cart me out feet first





*I Capuleti e i Montecchi * can be inspired. However, I'll not list it among my favourites because I'm conscious that I only really fall in love with the music when it is inauthentically performed with a tenor Romeo - such as the marvellous Aragall. Maybe I'm splitting hairs. 



.

Thanks
David


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## The Conte (May 31, 2015)

I know all of Bellini's operas and he is one of my favourite opera composers (he would end up in my top three along with Verdi and Wagner - but please don't make me place them in any particular order!)

All his operas have something to offer and I enjoy them all, but his best are the six best known (so those apart from Adelson, Bianca, Straniera and Zaira). However, two of these have been recorded by Opera Rara (Adelson and Straniera) and my opinion of them has improved since becoming familiar with these recordings. I think if Opera Rara were to record Bianca and Zaira I would find them more enjoyable.

My absolute favourites (in no particular order) are Norma, Beatrice, Pirata and Capuleti as the melodies are more complex and compelling. In the end I voted for all of them in your poll, I just couldn't help myself!

I really need to continue my review of recordings of his operas, but I got stuck on Norma. I will return to that thread when I have time, though.

N.


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## Woodduck (Mar 17, 2014)

^^^ That late Callas performance of "Ah non credea" is extraordinarily touching in its delicacy and inwardness. The fact that in 1965 she no longer had complete control of her voice compromises her intentions a bit but contributes in a way to the fragility of the character. I can't think of another singer in modern times who achieves such depth of expression in this music. If we go back in time, though, we can find something comparable. Here's Adelina Patti, who recorded the aria in 1906 at age 63:






That's singing as pure expression, and as with other great singers of that era her voice preserved its purity, ease and technical facility into old age, evident despite the primitive recording process which deprives us of the richness and vibrancy of her tone. If we had singers with such technique, technique so responsive to sheer emotion that they and we could forget it completely, I might be more interested in Bellini, who surely had such singers in mind when he penned his glorious melodies.


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## SixFootScowl (Oct 17, 2011)

The Conte said:


> I know all of Bellini's operas and he is one of my favourite opera composers (he would end up in my top three along with Verdi and Wagner - but please don't make me place them in any particular order!)
> 
> All his operas have something to offer and I enjoy them all, but his best are the six best known (so those apart from Adelson, Bianca, Straniera and Zaira). However, two of these have been recorded by Opera Rara (Adelson and Straniera) and my opinion of them has improved since becoming familiar with these recordings. I think if Opera Rara were to record Bianca and Zaira I would find them more enjoyable.
> 
> ...


Conte, I hope you have this set, which is rather expensive, but can be had (hopefully still) as a download for $10 (I'd have to find the site again, but did post it somewhere on this site (ridiculous bargains thread perhaps). If you are interested, I'll try to find the site for you do get it for $10 (just you don't get the bonus CD-ROM). You can see and sample the contents here: 
https://www.prestomusic.com/classical/products/7976581--bellini-complete-operas


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## The Conte (May 31, 2015)

I don't have that box set, although I have a few of the recordings in it (which I purchased as separate sets before it was released). I rarely get these box sets as I find that most of the good stuff I already have and I am not particularly interested in the others, so they don't usually cash in. I'm also not a fan of Ciofi (and can take or leave Aliberti) so it hasn't appealed to me.

N.


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## Revitalized Classics (Oct 31, 2018)

Woodduck said:


> ^^^ That late Callas performance of "Ah non credea" is extraordinarily touching in its delicacy and inwardness. The fact that in 1965 she no longer had complete control of her voice compromises her intentions a bit but contributes in a way to the fragility of the character. I can't think of another singer in modern times who achieves such depth of expression in this music. If we go back in time, though, we can find something comparable. Here's Adelina Patti, who recorded the aria in 1906 at age 63:
> 
> 
> 
> ...


Hi Woodduck

I really hope that comes to pass and singers appear on the scene - Bellini sung well can be heaven!

I love Patti's recordings, particularly the splendid "Ah non credea" you shared.

When I'm feeling particularly maudlin I wonder if there have been many real virtuosi within hailing distance of _electric microphones_ let alone _modern stereo_ :lol: Callas, Sutherland (Particularly with Horne), Pavarotti et al. obviously put paid to that when I have ears to hear 

Although the acoustic recordings are sometimes closer to car crashes than thrill rides, I definitely think that more singers then shared the sensibility and technique to keep things interesting. "Flashes of brilliance" were how the uploader described this duet with Marconi and Galvany from Puritani





These are some other favourites
Lucrezia Bori - Ah, non credea mirarti - La Sonnambula





Mattia Battistini - Ah per sempre io ti perdei - I Puritani





Pol Plancon - Vi Ravviso - La Sonnambula





I'll finally be a bit daring and suggest a particular favourite which was issued more recently...on 78s 
Ferruccio Tagliavini - Prendi l'anel ti dono - La Sonnambula





Thanks
David


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## SixFootScowl (Oct 17, 2011)

The Conte said:


> I don't have that box set, although I have a few of the recordings in it (which I purchased as separate sets before it was released). I rarely get these box sets as I find that most of the good stuff I already have and I am not particularly interested in the others, so they don't usually cash in. I'm also not a fan of Ciofi (and can take or leave Aliberti) so it hasn't appealed to me.
> 
> N.


I bought the box set for the Ciofi Sonnambula. Not that I am fond of Ciofi, but it was the only Sonnambula that I didn't have (I have some 25 Sonnambulas on CD). But the whole set, especially for $10, works out nicely for me as I would not otherwise hear some of the operas (but for going on You Tube).


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## Woodduck (Mar 17, 2014)

Revitalized Classics said:


> Hi Woodduck
> 
> I really hope that comes to pass and singers appear on the scene - Bellini sung well can be heaven!
> 
> ...


Great stuff. There's nothing like men who can really do _bel canto._ I think it was Caruso who called Pol Plancon a "human cello." We have nothing like him now. Our basses sound like elephants in rut.


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## The Conte (May 31, 2015)

Woodduck said:


> Great stuff. There's nothing like men who can really do _bel canto._ I think it was Caruso who called Pol Plancon a "human cello." We have nothing like him now. Our basses sound like elephants in rut.


I love Plancon (and the great 'Russian' Holy Trinity of Chaliapin, Kipnis and Reizen -although strictly speaking Kipnis was Ukrainian), along with Pinza in the Italian repertoire and some of the 50s Bayreuth singers these do wipe the floor with every bass who came after (including Christoff and Ghiaurov). I don't always agree with you that great singing more or less died out in 1960 (or thereabouts), but when it comes to basses you are probably right.

N.


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## Diminuendo (May 5, 2015)

Norma is definitely my favorite. With top notch talent it really is a masterpiece. With Bellini there has to be a singer that I really connect with. If that is not the case then the music seems lacking. Bellini for me requires really good singers to really understand the material. After Norma I'd say I Puritani and La Sonnambula are ones that I listen to most. With I Puritani I have affinity with the Callas and Di Stefano pairing. Il Pirata I'll pretty much listen only the mad scene with Callas.


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## The Conte (May 31, 2015)

The Conte said:


> I love Plancon (and the great 'Russian' Holy Trinity of Chaliapin, Kipnis and Reizen -although strictly speaking Kipnis was Ukrainian), along with Pinza in the Italian repertoire and some of the 50s Bayreuth singers these do wipe the floor with every bass who came after (including Christoff and Ghiaurov). I don't always agree with you that great singing more or less died out in 1960 (or thereabouts), but when it comes to basses you are probably right.
> 
> N.


And let's not forget Baccaloni, the greatest basso buffo of recorded history.

N.


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## The Conte (May 31, 2015)

I can only agree that Bellini can very easily be ruined and tests a singer's musicality, interpretative gifts and sense of italianate line. It's easy to see why Callas excelled in this repertoire, but I think quite a few singers of all voice types have been able to do justice to this music. I have only seen her in Donizetti and Verdi, but I can't wait to see Lisette Oropesa in Sonnambula, Puritani or Capuleti if she takes their soprano roles on.

N.


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## SixFootScowl (Oct 17, 2011)

Guess I am the stick in the mud, the only one who didn't vote for Norma, else she would have 100%.


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## gellio (Nov 7, 2013)

Dear Puritani.......


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## MAS (Apr 15, 2015)

Like many, I consider *Norma* a masterpiece, followed by *La Sonnambula*. For the rest of the operas, I'm happy to listen to the beautiful arias Bellini composed; Callas is the supreme interpreter for me and none can touch her, however beautiful the voice or otherwise great the singer.


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## Tsaraslondon (Nov 7, 2013)

MAS said:


> Like many, I consider *Norma* a masterpiece, followed by *La Sonnambula*. For the rest of the operas, I'm happy to listen to the beautiful arias Bellini composed; Callas is the supreme interpreter for me and none can touch her, however beautiful the voice or otherwise great the singer.


I'd have to admit that Callas is virtually the only reason I listen to Bellini. All my recordings of the big three (*Norma*, *La Sonnambula* and *I Puritani*) feature Callas, and the one I have that doesn't (*I Capuleti e i Montecchi*) I have for Janet Baker's Romeo. I also have Caballé's wonderful Orange *Norma* on DVD, but, as far as I'm concerned, she is the only singer who even comes close.


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## annaw (May 4, 2019)

I haven't actually listened to all of Bellini's operas, but I very deeply doubt that any one of those I've not yet listened to comes even close to _Norma_, which is one of my favourite Italian operas. I don't think that even his other famous operas like _I Puritani_ quite justify their length (among the reasons why I like the cut versions with Callas) - _Norma_ is dramatically wonderfully compact but effective and has one great melody after another. Nonetheless, I think it's very unfortunate we will never know what Bellini would have composed if he hadn't died so early. It seems to me that already in his later operas, he started to experiment a bit more with orchestration. If I may say so, I think Bellini had even more potential than Verdi did, considering that Bellini wrote _Norma_ when he was 30 and Verdi wrote _Il Trovatore_ when he was 40. Even though I really enjoy some of Verdi's early operas, I don't think they are al quite equal to what Bellini was able to do.


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## Dimace (Oct 19, 2018)

I voted for La Straniera, because is for the collectors the most worthy opera of Bellini. (I don't know the reason, but Patrizia Ciofi has also something...) Appart from this Norma & Sonnambula are the best operas of the great composer and Maria his Muse.


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## The Conte (May 31, 2015)

Dimace said:


> I voted for La Straniera, because is for the collectors the most worthy opera of Bellini. (I don't know the reason, but Patrizia Ciofi has also something...) Appart from this Norma & Sonnambula are the best operas of the great composer and Maria his Muse.


I've never heard Straniera described as the most worthy opera of Bellini, but I can understand why some may call it that and it could be termed his Boccanegra. It was written as part of the modernization of opera in the 1820s/30s and the move away from Rossini's style towards that of Donizetti's serious operas. Straniera doesn't have many memorable melodies, but that's because Bellini was experimenting with his style, building on what he had done in Il Pirata and writing music that drove the drama forward rather than relying solely on melody for its own sake. It would appear from his later and most famous works that what he learned from that experiment was that both song _and_ drama were necessary for a successful opera.

N.


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## Seattleoperafan (Mar 24, 2013)

Norma is my favorite with really great singers and I don't just listen to Callas, which is heretical here. I was very lucky to hear two fine Normas here Seattle: Jane Eaglen in her North American debut when her voice was still in great shape, and Christine Goerke. This was around 17 years ago when she was singing lots of Mozart and she had a killer High D that was enormous. My favorite Norma Casta Diva scene is by Ponselle, also heretical. I also greatly enjoyed Il Pirata with the underrated Egiise Guttierez in the soprano role. It has one of my favorite arias on The Art of the Prima Donna by Sutherland.ARt.


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## SixFootScowl (Oct 17, 2011)

Why are there no comedies in Bellini's oeuvre?


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## amfortas (Jun 15, 2011)

SixFootScowl said:


> Why are there no comedies in Bellini's oeuvre?


You don't think _Norma_'s funny?


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## SixFootScowl (Oct 17, 2011)

amfortas said:


> You don't think _Norma_'s funny?


Perhaps in this recording:


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## Itullian (Aug 27, 2011)

I Puritani
Il Pirata


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## The Conte (May 31, 2015)

SixFootScowl said:


> Why are there no comedies in Bellini's oeuvre?


Adelson e Salvini has comic elements even if it isn't strictly a comedy. Bellini had a superb gift for melancholy melodies and that would suggest why his style wasn't as suited for comedies as Rossini's and Donizetti's were.

N.


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