Anita Cerquetti shows a powerful, well focused voice, commanding in declamation, and accurate in the music’s fioratura. She has the genuine bel canto sense of using vocal color or embellishment to project words and establish a dramatic presence. This serves her well in crucial scenes told in recitative, and also serves her well in dramatic concerted numbers. She is especially good in the climactic Act 2 duet with the tenor, and she makes more of the following confession scene “Qual cor tradisti” than many other sopranos. Cerquetti’s performance comes across as that rarity, a complete interpretation, words and melody as one.When she first appears, there is polite applause, but also audible shouts and catcalls from those who audibly would have preferred to hear the announced diva Callas. Likewise after “Casta Diva,” well sung by Cerquetti, one can hear both sincere cheering and also outbursts from attending trolls. This moment past, however, the soprano carries the audience with her, earning a huge ovation after the tricky duet with Adalgisa. Her associates are also game: Franco Corelli portrays the Roman two-timer with ingratiating and larger-than-life charm, adding bel-canto accents as well as exciting high notes. Miriam Pirazzini is likewise an engaged vocal partner in her two significant duets with Norma. The sound is good, and Cerquetti’s performance is so gripping that it is indispensable for bel canto lovers.

Sound not brilliant (understandably) but great voices shine through. It is true that Cerquetti was touched by greatness!

Unvergesslich und unwiederholdbar-himmlisches Gesang in gutem Ton Qualität.Orchester hat auch tolle Arbeit gemacht.

A MUST HAVE!

BIEN RECU avec taxes à l'arrivée !

Anita Cerquetti was doing double duty when she sang this performance of Norma. She was already engaged to sing elsewhere, but when Maria Callas became indisposed and wasn't able to sing these Rome performances (the infamous "Rome Walkout") Cerquetti was called on to fill in for her. If she doesn't have the American diva's moment to moment specificity, she does have a very beautiful voice and great sensitivity in shaping a Bellinian line. Her "Casta diva" wins cheers from a skeptical audience who had paid to see Callas and were won over by Cerquetti's eloquence: a classic performance (though doing all those Normas back to back put a strain on her resources).Corelli makes Pollione so handsome and sexy can understand why the ladies are going gaga over him. He ducks the one written top C in his opening aria (he sings it in the 1960 studio recording with Callas), but his many high notes after that will give you chills. Pirazzini sings very well as Adalgisa. She has to duck a few high notes too (Adalgisa is a soprano part after all), but she blends perfectly with Cerquetti in their important duets. Neri makes a formidable Oroveso. Santini conducts a very fluent performance. The sound is from a very good mono broadcast. Occasionally the opening notes of a scene or act are missing or cut into, but that often happens in live recordings of this era.If you love Norma, you must hear Cerquetti and company!

This is a must have if you love Bellini and great singing. Sound quality is fine.Packaging is slick and not bulky leaving room in my cabine for more,I wish some of my other “live” recordings I’ve purchased from other vendors were as great as this!