Bellini: Norma

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... Read review

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Advantages: Bellini's music. Gruberova, Kasarova, Bernardini
Disadvantages: Morosow

...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... Read review

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Advantages: about equal!
Disadvantages: high price of the Sutherland set

...Keen opera fans may sometimes be puzzled by the choice available on the shelves of the larger record shops, especially when trying to compare two stellar casts. Bellini's last (and arguably greatest) opera, I Puritani, is a case in point, with recordings by Callas and Sutherland heading the list. Personally I bought both, to avoid having to choose, but each has it's merits. Callas, as always, brings greater warmth and fire to the usually pallid role of Elvira, but Sutherland's effortless roulades and trills are a joy to hear, and a young Pavarotti has a flawless technique in the infamous tenor role which defeated Caruso, complete with a hair-raising top F in his final aria. The Sutherland set also avoids the cuts made in the earlier recording, but is handicapped by Decca's greedy pricing - still at full-price after 30 years? Come on... Read review

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