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 the funeral pyre. This was Callas' great role and in some regards this recording captures her greatness but at other times it cannot match her earlier official recording from 1954. Callas is not in her best voice, her high notes wobbly and piercing compared to 1954. One has the feeling that a performance about '56-'57 would have been wonderful. She sings softly far more often in the 1954 set and she is very tender and delicate in those moments. She is at her best in the second half where her confrontation with Pollione is scorchingly intense and her "Oh Rimembranza"is beautifully phrased. There she is joined by Christa Ludwig's Adalgisa which is nicely phrased- Ludwig's voice in bel canto music is remarkable considering how different this is from her regular repertoire of say Wagner - she can match Callas beautifully in the duets. This is Franco Corelli's finest recording in my opinion with the vibrant tone coming across splendidly in the music - his performance having the necessary bite in the confrontation with Norma. Serafin gives a measured performance but not without excitement and energy rather without exaggeration. The sound is warm and clear. From a technical standpoint the performance cannot match the uncut version conducted by Bonynge with Sutherland and Horne at their peaks although this is the more dramatic performance. Probably my favourite studio recording of Norma.
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