Bellini - Norma
Maria Callas
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Norma
Maria Callas sop Norma; Christa Ludwig mez Adalgisa; Franco Corelli ten Pollione; Nicola Zaccaria bass Oroveso; Piero De Palma ten Flavio; Edda Vincenzi sop Clotilde; Chorus and Orchestra of La Scala, Milan / Tullio Serafin
EMI 966709-2 (161‘ · ADD · T/t)
Recorded 1960
Norma
Maria Callas sop Norma; Ebe Stignani mez Adalgisa; Mario Filippeschi ten Pollione; Nicola Rossi-Lemeni bass Oroveso; Paolo Caroli ten Flavio; Rina Cavallari sop Clotilde; Chorus and Orchestra of La Scala, Milan / Tullio Serafin
EMI mono 586834-2 (160' · ADD · T/t)
Recorded 1954
Norma may be considered the most potent of Bellini’s operas, in its subject – the secret love of a Druid priestess for a Roman general – and its musical content. It has some of the most eloquent music written for the soprano voice. The title-role has always been coveted by dramatic sopranos, but there have been few in the history of the opera who have completely fulfilled its considerable vocal and histrionic demands: in recent times the leading exponent has been Maria Callas.
Is the 1960 recording better or worse than the 1954 recording? The answer can’t be put in a word. But those who heard Callas sing Norma at Covent Garden in 1953-54, and then again, slim, in 1957, will know the difference. The facts are that in 1954 the voice above the stave was fuller, more solid and more certain, but that in 1960 the middle timbres were more beautiful and more expressive; and, further, that an interpretation which was always magnificent had deepened in finesse, flexibility and dramatic poignancy. The emphasis you give to these facts must be a matter of personal opinion. Certainly Callas’s voice lets her down again and again, often when she essays some of her most beautiful effects. The F wobbles when it should crown a heart-rending ‘Oh rimembranza’; the G wobbles in an exquisitely conceived ‘Son io’ – and yet how much more moving it is than the simpler, if steadier, messa di voce of the earlier set. There are people who have a kind of tone-deafness to the timbres of Callas’s later voice, who don’t respond to one of the most affecting and eloquent of all sounds. They’ll stick to the earlier set. But ardent Callas collectors will probably find that it’s the later one to which they will be listening again and again, not unaware of its faults, but still more keenly responsive to its beauties. ‘Casta diva’, by the way, is sung in F, as in 1954 – not in the original G, as in the Covent Garden performances of June 1953. The big duet with Adalgisa is again down a tone, ‘Deh! con te’ in B flat, ‘Mira, o Norma’ in E flat, and the change is once again effected in the recitative phrase ‘nel romano campo’. Callas doesn’t decorate the music. Adalgisa, a soprano role, is as usual taken by a mezzo. Ludwig blends beautifully with Callas in the low-key ‘Mira, o Norma’ (though her downward scales are as ill-defined as her colleague’s). She’s no veteran Adalgisa, but youthful and impetuous except when she lets the rhythm get heavy, and Serafin does nothing to correct her.
On the earlier set, Stignani is a worthy partner, while Filippeschi is rough but quite effective. On both sets, Serafin restores the beautiful quiet coda to the ‘Guerra’ chorus, and on both sets, Callas disappointingly doesn’t float over the close of that slow rising arpeggio. In the later set, the conducting is spacious, unhurried, elevated and eloquent. Only in his handling of the mounting tension and the two great climaxes and releases of the finale, might you prefer the earlier version. The La Scala playing is superlative, and the recording is excellent.
