This title is currently unavailable.
Notes and Editorial Reviews
"There were several good reasons for making a second recording of Callas's Norma only six years after her first. Recording itself had improved notably in that time but Callas's voice had deteriorated and could not wait much longer. More important, the great solo performance in that earlier version (HMV C)SLS5115, 11/54 and 5/78) had not been part of a satisfying performance of the opera as a whole. Most deficient had been the tenor and bass, more important than their limited opportunities might suggest. The woolly tones of Nicola Rossi-Lemeni were replaced by Nicola Zaccaria's resonant, welldefined and authoritative Oroveso, and Mario Filippeschi's Pollione, distinguished solely by a loud and long top C, gave way to the ringing and
sometimes almost stylish singing of Franco Corelli. Adalgisa had been sung in the 1954 set by Ebe Stignani, whose middle range was still of surpassing beauty though she was no longer able to do full justice to the role; Christa Ludwig in the second version brought an ample range, a considerable beauty and body of tone, and a sympathetic, intelligent approach. With this cast Callas's Norma could be heard in a worthy setting; and there was Serafin, as before, to help with his long-accumulated knowledge of the ways of such operas as this, so that with his feeling for rubato and his care (for instance) to make the orchestra play pianissimo at Callas's entry, the famous "Mira, o Norma" could work its magic very much as it had done in the old Ponselle/Telva recording made in January 1929 (Italian RCA mono TVM1 7202). The new stereo techniques, moreover, gave space and clarity where previously the sound had been relatively stodgy. So if Norma with Callas is what is wanted then the choice is simple: this is it. But what if the requirement is Callas's Norma? That is a different proposition and the decision less certain. Some critics detect a deepening in Callas's understanding of the role. I cannot profess to have directly compared every phrase, but certainly when I have gone from one recording to the other to compare a phrase or a passage (and it has been often both now and hitherto) what I have been struck by is the consistency, as far as interpretation and style are concerned. Sometimes the portrayal is a degree more vivid in the earlier version, but then the singer is closer: we hear more sharply the intake of breath and so forth. At least the deliniation is never thickened, the points are never overemphasized in the later recording: Callas had it in common with Fischer-Dieskau that the learning, feeling, expressing, 'interpreting', worked into the system and became ever less deliberately underlined."
-- J.B.S., Gramophone [6/1980]
Includes full libretto in English and Italian.
Works on This Recording
Norma by Vincenzo Bellini
Christa Ludwig (Mezzo Soprano),
Maria Callas (Soprano),
Franco Corelli (Tenor),
Nicola Zaccaria (Bass),
Piero de Palma (Tenor),
Edda Vincenzi (Soprano)
Milan Teatro alla Scala Orchestra,
Milan Teatro alla Scala Chorus
Written: 1831; Italy
Date of Recording: 09/1960
Venue: La Scala Theater, Milan, Italy
Length: 161 Minutes 29 Secs.
Average Customer Review: ( 1 Customer Review )
Superb October 12, 2013
By Henry S. (Springfield, VA) See All My Reviews
"Vincenzo Bellini's masterpiece is brought to life in glorious sound from a 1960 recording with a dream cast- Maria Callas, Christa Ludwig, Franco Corelli, Nicola Zaccaria, et al. Backed up by the Orchestra and Chorus of the La Scala Theater, the cast does a wonderful job with Bellini'a dramatic libretto. I was fascinated by the discussion contained in the CD booklet (containing the libretto)dealing with the so-called decline in Maria Callas' voice at the time of this recording. I certainly don't qualify as an educated critic of such things, but her role certainly sounded magnificent to my ears. The critics mention a developing 'wobble' in her voice, and that might be detectable to the most severe critic- but so what? This is Maria Callas- nothing more needs to be said. The technical quality of this remastered recording is outstanding, the orchestra and conductor are ever reliable, and the overall impression one gets listening to Bellini's great opera is one of supreme artistic achievement. Norma is an opera which places great demands on the singers, and I am certain that you will agree with me that they certainly are up to the challenge. So if you are looking for a truly first-class recording of this top tier Italian opera, look no further. Definitely recommended!"