Bellini: Norma - Gencer, Lazzarini, Prevedi, Wildermann; Bartoletti. Buenos Aires, 1964
$16.95
Description:
Pros:
- Leyla Gencer's Norma is on the earthy side, but what her voice lacks in ethereal purity she makes up in dramatic conviction and unimpeachable vocal finesse.
Cons:
- Adriana Lazzarini falls a bit short of the mark as Adalgisa.
In Stereo
OD 11564-2
Listen to a Sample:
Thrilling Norma in Excellent Sound!
This performance is what Norma is all about. Other Normas are more vocally perfect than Gencer's (Sutherland, Deutekom), but few have the Turkish soprano's command of the music and of the many shades of the character. From her opening "Casta diva" sung with true classical poise to her heartbreaking "Deh! Non voleri vittima", Gencer gives us everything. Her anguish over the possibility of killing her children is as keen as her top D at the end of Act One is thrilling: a classic portrayal. Prevedi can be a little pitch-challenged, but mostly he sings nobly and well. He ducks the C in his opening aria, but certainty isn't the only tenor to do that. He partners his leading ladies with great skill. Lazzarini was a good mezzo of the period though one for whom Adalgisa's music is really too high (she ducks or rewrites anything above an A). But that was the way Adalgisa was performed at this time. Wildermann is terrific as he always was no matter what he sang. One looks forward to his arias rather than dreading them. The chorus and orchestra are very good. Bartoletti leads very capably though there are times when one wants to light a fire under him. The sound is excellent broadcast stereo. The Pirate Gods smiled happily on this performance and so will you!
Gencer’s Legendary Norma
This performance is an excellent document of Gencer’s Norma. All her trademarks are here: beautiful pianissimos, dramatic coloratura, supreme musicality, and a rock solid high D at the conclusion of Act 1. The sound is incredible - true stereo. This performance is not to be missed.
Norma
I enjoyed this performance. Ms. Gencer was a very interesting singer and did some great performances. Worth hearing. Good sound and supporting cast.
Leyla Gencer was a famous
Leyla Gencer was a famous Norma and this is her Norma at the height of her career. She more than meets the demands of the role: fierce in confrontation, limpid and gentle when required. Her manner of pulling back suddenly on her approach to a top notes to produce an exquisite pianissimo is here particularly telling. The faint catch in the middle of her voice oddly gives her Norma a human and womanly face. Her Pollione is the excellent Bruno Prevedi. His voice big bronze and manly. The Orverso, William Wildermann is rather young sounding and gives an incisive and energetic performance. Adrianna Lazzarini was a famous mezzo and took part in a number of famous studio recordings of the 50's. Hers is unquestionably a front rank voice and she sings Adalgisa as well as anyone but there is the feeling of a "job of work" about her performance. The sound is particularly good. Clean with no sign of distortion and voice and orchestra in excellent balance.
a special treat even if not the greatest performance
I think, like me, most listeners would be interested in hearing what Leyla Gencer with her manifold gifts can bring to Norma. Let's say her Norma becomes more special as the evening progresses. Yes, the cantilena and dynamic control is already something to behold in the Casta Diva. But by the final scenes Gencer's majesty then her pleading with her father for her children's safety become emotionally enthralling. The Oroveso is solid. Pollione is very fine, with Bruno Prevedi giving quite an evening's pleasure with his robust but elegant tenor. Not a must-have for sound. There are patchy moments and two noticeable dropouts. But worth knowing for Gencer.
