With two official EMI versions and five complete live recordings, Norma is at the top of the Callas hit parade, but choosing a single version is a nightmare as each has its virtues, based on the state of the soprano's voice or the surrounding cast. My first choice lies with the first 1954 studio recording where the balance between vocal health and emotive quality is as good as one can get for this artist.
This was Maria Callas' first studio-recorded Norma, and it remains a formidable performance. If it doesn't quite have the emotional shadings of her 1960 EMI re-make, it is certainly vocally more secure and in its way just as authoritative. The grandeur of the voice itself is always in evidence; her seeming spontaneity to dramatic situations makes the drama real. Mario Filippeschi's Pollione is impressive–he was a finer tenor than he's given credit for–and Ebe Stignani's Adalgisa is warm and blends superbly with Callas in the duets. Nicola Rossi-Lemeni's Oroveso is a mass of wobbles. Tullio Serafin leads masterfully but observes all the cuts that were standard for the '50s. Most people prefer the 1960 performance, with its clearer delineation between Norma-the-warrior and Norma-the-woman (and for Corelli and Ludwig in the two supporting roles, not to mention the stereo sound), but by 1960 Callas' vocal problems were pretty overt, so you'll have to take the good with the bad. My preference is for the 1955 recording (on Opera d'Oro) with del Monaco under Serafin; its minute-by-minute potency and glorious singing are unmatchable.
A grande dame of British jazz, Norma Winstone may be approaching her 70th birthday but the east London-born vocalist shows no signs of fading into well-earned retirement just yet. Indeed, the former Azimuth figurehead and veteran collaborator with everyone from pianists John Taylor and Mike Westbrook to Ian Carr and Kenny Wheeler, has made some of the best received albums of her lengthy career during the last decade; not least 2008’s Distances, which garnered a Grammy nomination and a clutch of European jazz awards.
Bellini’s penultimate opera – written for La Fenice, Venice, in 1833 – has never enjoyed the popularity of such works as La sonnambula, Norma and I puritani. Listening to this vintage Joan Sutherland recording dating from 1966, it is hard to fathom why. The story is strong and stirring – a sort of cross between Maria Stuarda and La Gioconda – and offers fine roles for the wronged titular heroine, her villainous husband Filippo, her platonic admirer Orombello and his would-be mistress, Agnese del Maino (a Princess Eboli avant la lettre). How odd that Sutherland never managed to persuade Covent Garden to mount it for her, especially with this glorious cast. The Decca set is historic because it offered the legendary Sutherland/Pavarotti collaboration for the first time on disc. Luciano is wonderfully stylish here, elegant and ringing: Nureyev, vocally-speaking, to Sutherland’s Fonteyn. La Stupenda was going through one of her ‘moony’, muddy-diction phases, but the vocalism is quite dazzling. It’s a joy to encounter Josephine Veasey in her only commercially recorded Italian role: velvet-toned, shining, she is Sutherland’s most lustrous mezzo rival in any bel canto recording. (BBC MUSIC MAGAZINE)
By 1981, when this production was taped for Canadian television, Joan Sutherland's voice was unquestionably past its prime. But even in its decline, that voice remained something quite special, and the role of the troubled Druid priestess Norma was one of her specialties. A substantial advantage in this recording is the presence at the podium of her husband and coach, Richard Bonynge, who had a deep understanding of the strengths and limitations of her voice and stage persona. His pacing and balance give the voice opportunities to challenge, at least momentarily, the ravages of time. Lotfi Mansouri, one of the great operatic entrepreneurs of the late 20th century, assembled a first-class supporting cast for Sutherland–most notably Tatiana Troyanos, to whose memory this video is dedicated. The performance of Troyanos in the role of the younger and equally troubled priestess Adalgisa is outstanding and would make this disc worth having even without its documentation of Sutherland. As far as it is possible to determine, this is the only video opera appearance of tenor Francisco Ortiz. On the basis of his performance as the Roman officer Pollione, he seems to have deserved more attention. Bass Justino Diaz gives a sterling performance as the old Druid Oroveso. (Joe McLellan)
In collaboration with Giovanni Antonini, Riccardo Minasi and Maurizio Biondi, Cecilia Bartoli restores the sound and spirit of Norma in a landmark Decca recording based on the opera’s original sources. Cecilia Bartoli leads a fabulous cast in Decca’s groundbreaking new recording, which presents Vincenzo Bellini’s Norma in a form that is complete with the exquisite mix of vocal and instrumental colours that Bellini intended for his ‘tragic opera’.
“If we weep from emotion on hearing it, it’s nothing to be ashamed of” Richard Wagner on Bellini’s most famous opera Norma, the most successful work by the last and greatest composer of bel canto. This new production of Norma, directed by Grammy Award-nominated opera, theatre and film director Kevin Newbury and starring Sondra Radvanovsky as a “powerful, elegant” Norma (New York Times) and Gregory Kunde as Pollione, is “something very special. The word ‘historic’ is used perhaps a little too often but tonight there really is no other adjective to describe the sensational performances offered to us by Sondra Radvanovsky and Gregory unde.” (operatraveller.com)
Vincenzo Bellini (1801-1835) wanted to move the audience of his operas to tears. And this is exactly what Beatrice di Tenda manages to do: it has great music and the story really touches the heart. In this production by Daniel Schmid, one can experience the stunning singers Edita Gruberova and Michael Volle in the main roles – with Marcello Viotti conducting the Orchestra of the Zurich Opera House. In Beatrice di Tenda, Bellini departs from the belcanto style, which he used in Norma, and explores a new way of musical expression, which brought to the fore a new warmth and different characteristics. The story is based on true events from the 15th century. It focuses on the impressive Beatrice di Tenda, who is wrongly accused by her husband to be unfaithful and is ultimately beheaded. The premiere of the opera was given at the Teatro la Fenice in Venice on 16 March 1873. Although Beatrice di Tenda is not Bellini’s most successful opera, the title role is a popular showpiece among sopranos. In this production, Beatrice is brilliantly interpreted by the “Queen of Belcanto”, Edita Gruberova.