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Norma
Despite the challenges posed by the recording's sound quality, the brilliance of this performance still manages to shine through. The collaboration between Sarah Caldwell and Beverly Sills stands as one of the legendary partnerships in opera. Together, they bring the composer's vision to life in a way that feels both faithful and almost radical at the same time.
Beverly Sills delivers a compelling performance in the title role, bringing her signature commitment and intelligence to this iconic character. She makes thoughtful adjustments to suit her voice, the most intriguing being her decision to transpose "Casta Diva" up. As Pollione, John Alexander sings with confidence, elegance, and refinement, while Beverly Wolff excels when the music allows her to showcase her warm middle register, though she is less effective at the top of her range. Donald Gramm's sumptuous voice lends great authority to Oroveso, a fortunate asset given the additional arias interpolated into Act 3.
Presented uncut, this is the longest Norma I have ever encountered, yet the sheer vocal prowess and carefully considered interpretative details ensure that the performance remains thoroughly engaging from start to finish.
Track List
Act I
1. Preludio
2. Ite sul colle, o Druidi
3. Svanir le voci! E dell'orrenda selva Libero è il varco.
4. Meco all'altar di Venere
5. Me protegge, me difende
6. Norma viene: le cinge la chioma
7. Sediziose voci
8. Casta Diva
9. Ah! bello a me ritorna
10. Sgombra è la sacra selva
11. Eccola! Va, mi lascia, Ragion non odo!
12. Va, crudele, al Dio spietato
13. Vieni in Roma, ah, vieni, o cara
14. Vanne, e li cela entrambi.
15. Adalgisa!... Alma costanza
16. Oh, rimembranza!
17. Ah! Sì, fa core e abbracciami.
18. Ma di': l'amato giovane
19. Oh! Di qual sei tu vittima
2. Ite sul colle, o Druidi
3. Svanir le voci! E dell'orrenda selva Libero è il varco.
4. Meco all'altar di Venere
5. Me protegge, me difende
6. Norma viene: le cinge la chioma
7. Sediziose voci
8. Casta Diva
9. Ah! bello a me ritorna
10. Sgombra è la sacra selva
11. Eccola! Va, mi lascia, Ragion non odo!
12. Va, crudele, al Dio spietato
13. Vieni in Roma, ah, vieni, o cara
14. Vanne, e li cela entrambi.
15. Adalgisa!... Alma costanza
16. Oh, rimembranza!
17. Ah! Sì, fa core e abbracciami.
18. Ma di': l'amato giovane
19. Oh! Di qual sei tu vittima
Act II
20. Introduzione
21. Dormono entrambi
22. Mi chiami, o Norma?
23. Deh! Con te, li prendi
24. Mira, o Norma, a' tuoi ginocchi
25. Sì, fino all'ore estreme
26. Non partí! Finora è al campo!
27. Guerrieri! A voi venirne credea foriero d'avvenir migliore!
28. Ah! del Tebro al giogo indegno
29. Ei tornerà.
30. Squilla il bronzo del Dio!
31. Nè compi il rito, o Norma?
32. In mia man alfin tu sei
33. Dammi quel ferro!
34. Qual cor tradisti, qual cor perdesti
35. Norma! Deh! Norma, scolpati!
36. Deh! Non volerli vittime
21. Dormono entrambi
22. Mi chiami, o Norma?
23. Deh! Con te, li prendi
24. Mira, o Norma, a' tuoi ginocchi
25. Sì, fino all'ore estreme
26. Non partí! Finora è al campo!
27. Guerrieri! A voi venirne credea foriero d'avvenir migliore!
28. Ah! del Tebro al giogo indegno
29. Ei tornerà.
30. Squilla il bronzo del Dio!
31. Nè compi il rito, o Norma?
32. In mia man alfin tu sei
33. Dammi quel ferro!
34. Qual cor tradisti, qual cor perdesti
35. Norma! Deh! Norma, scolpati!
36. Deh! Non volerli vittime
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5.0
Based on 1 review
✓ Top Reviewer
United States
Exciting Performance in Listenable Sound!
I'm not sure why Sills agreed to sing Norma (my guess is Caldwell was very persuasive). I agree that she didn't really have enough voice for the role -...and yet because she was La Sills she brought her own magic to it. "Casta diva" is sung a tone higher in the original key of G; it suits the range and color of her voice well though she and Caldwell almost kill it with the ultra-slow tempo ("Mira, o Norma" also has this problem). Her ease with coloratura will always be impressive, especially in the beautifully shaped cadenzas, and her legato is second to none. She was in her vocal prime here and is very generous with interpolated high notes, a top D at the end of Act 1, an E-flat at the end of "In mia man". Her dramatic choices, no doubt urged on by Caldwell, are very specific and to the point.The other singers are all good too. Wolff was a fine mezzo whose upper range was limited to about high A (the original higher key of F for "Mira, o Norma" is not to her advantage). Alexander shows again what a good tenor he was; he has no problem with the top C in his opening aria. Gramm sings superbly and makes the case for Wagner's interpolated aria in the second act. Caldwell leads efficiently, making very few cuts.Recorded by a sometimes fidgety tapist, the sound is listenable, the voices clearly heard. There is snafu in the disc breaks that places the last three and a half minutes of Act 1 on disc 3 though it would've fit easily on disc 2. There's also no cue point for the beginning of Act 2; it's buried in track 1 of disc 3.Sills' many fans should get this; they will be pleased. I may prefer other Normas, but Sills makes her case.
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