Bellini: Norma
Bellini's Norma, first performed in 1831, is one of the most glittering jewels in the bel
... more
canto repertoire, placing huge vocal demands on the soprano in the title role. The druid priestess who falls prey to human frail ties before redeeming her grace in the flames of the sacrificial fire must also be played with a high degree of dramatic truth. In the 20th century, two singers scaled new heights in combining these requirements: Maria Callas and Joan Sutherland. Sutherland's great achievement, preserved in this 1978 recording of Opera Australia's production at Sidney Opera House, was to render Norma a very human being, unravelling her complex reactions to the events which bring her personal world tumbling down around her. Using Bellini's deceptively simple melodies to tender effect, she reveals the essential purity of many of his greatest arias, not least "Casta diva": an equally valid alternative to Callas' pyrotechnics. Ronald Stevens as Norma's errant Roman lover Pollione and Margreta Elkins as Adalgisa, the unwitting agent of the priestess's ultimate downfall, strike vocal sparks in their duets with Sutherland. But this is essentially a treasurable record of one of the all-time great divas in a role that brought her some of her finest notices, with her husband and long-time collaborator Richard Bonynge in the conductor's box. On the DVD: In all respects, this is a solid offering with few frills. The only extra is an Arthaus trailer. The 4:3 picture format and PCM stereo-sound quality are adequate media for a theatrical performance which is very much of its time: crudely-edited plot explanations separate the acts and there is the imposition of some rather naff stills of the ill-fated lovers on flickering flames to suggest the pyre. But Sutherland's performance triumphs over all. --Piers Ford
Bellini: Norma
Bellini's Norma, first performed in 1831, is one of the most glittering jewels in the bel
... more
canto repertoire, placing huge vocal demands on the soprano in the title role. The druid priestess who falls prey to human frail ties before redeeming her grace in the flames of the sacrificial fire must also be played with a high degree of dramatic truth. In the 20th century, two singers scaled new heights in combining these requirements: Maria Callas and Joan Sutherland. Sutherland's great achievement, preserved in this 1978 recording of Opera Australia's production at Sidney Opera House, was to render Norma a very human being, unravelling her complex reactions to the events which bring her personal world tumbling down around her. Using Bellini's deceptively simple melodies to tender effect, she reveals the essential purity of many of his greatest arias, not least "Casta diva": an equally valid alternative to Callas' pyrotechnics. Ronald Stevens as Norma's errant Roman lover Pollione and Margreta Elkins as Adalgisa, the unwitting agent of the priestess's ultimate downfall, strike vocal sparks in their duets with Sutherland. But this is essentially a treasurable record of one of the all-time great divas in a role that brought her some of her finest notices, with her husband and long-time collaborator Richard Bonynge in the conductor's box. On the DVD: In all respects, this is a solid offering with few frills. The only extra is an Arthaus trailer. The 4:3 picture format and PCM stereo-sound quality are adequate media for a theatrical performance which is very much of its time: crudely-edited plot explanations separate the acts and there is the imposition of some rather naff stills of the ill-fated lovers on flickering flames to suggest the pyre. But Sutherland's performance triumphs over all. --Piers Ford
Excerpt(s): 1. Overture 2. ACT 1 - Ite sul colle, O Druidi 3. Svanir le voci!; Meco all'altar di Venere; Me protegge 4. Norma viene; Sediziose voci; Casta diva; Fine al rito; Ah! bello a me ritorna 5. Sgombra è la sacra selva 6. Eccola! Va , mi lascia; Va, crudele 7. Vanne, e li cela entrambi; Oh, Rimembranza!; Sola, furtiva al tempio; Ah sì, fa core, abbracciami 8. Tremi tu? E per chi?...Oh, non tremare; Oh! Di qual sei tu vittima; Perfido!...Or basti 9. ACT 2 - Dormono entrambi 10. Me chiami, o Norma?; Mira, o Norma; Cedi! Deh, cedi!; Si, fino all'ore estreme 11. Non parti!; Guerrieri; Ah! del Tebro 12. Ei tornerà 13. Guerra, guerra! 14. In mia man; Ah! Crudele 15. All'ira vostra; Qual cor tradisti; Deh! Non volerli vittime.
Advantages: Fine performances all round, especially Ludwig and Corelli Disadvantages: Callas not in best voice
...This is often considered one of the finest recordings of Bellini's opera "Norma". That opera is one of the best 'bel canto' operas of the nineteenth century. Norma, the soprano title character, has a secret relationship with the tenor Pollione, a Roman and thus an enemy to her people. She loves Pollione but he loves another priestess, the mezzo Adalgisa. Eventually it transpires that Norma has the power to decide the fate of Pollione and Adalgisa. Pollione is sentenced to death for being found on sacred ground (hoping to elope with/abduct Adalgisa). But rather than point the finger at Adalgisa for breaking her vows Norma admits to breaking her own vows with Pollione. Pollione, seeing Norma's nobility - she had felt pity for Adalgisa having intended to reveal the young priestess' betrayal - realises how much he loved her. They both mount...
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...Among the Bellini operas, Beatrice di Tenda may not be as compelling musically as Norma or La Sonnambula, but it contains some of bel canto's most beautiful tunes and one of the most beautiful trio ever written.
THE STORY:
Filippo, the Duke of Milan, is married to Beatrice, but covets her lady in waiting Agnese. He plots to get his wife out of the way by accusing her of having an affair with Orombello (whom Agnese loves, but who is in love with Beatrice). Agnese backs the false charge, thinking that if she can't have Orombello then she doesn't want Beatrice to have him either. A few changes of heart follow in the course of the opera, but Beatrice is the constant good gal who gains a moral victory at the price of her own head.
This is a live CD recording from a performance in Vienna in 1992 conducted by Pinchas Steinberg and featuring...
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Advantages: The most beautiful voice ever Disadvantages: She's not very well known
...Norma by Bellini which is the passionate story of a Druid priestess and a Roman soldier. This aria and in fact all that follow are so evocative and uplifting that you become totally immersed in the magical music and Filippa's amazingly versatile voice. It obviously would have a quite different effect on a bloke but some of the songs make me want to dress up in something floaty and dance round the room while others make me sink into deep cushions, close my eyes and dream.
Other operatic arias on the album are Puccini's Vissi d'arte from Tosca and O mio babbino caro from Gianni Schicchi; Addio del passato from Verdi's Traviata and s'apre per te il mio cuor from Samson and Dalila. In Habanera from Carmen she uses electronic voice enhancement and while purists might object I found the different approach quite entrancing.
Filippa is not your...
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04.04.2008
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