Grace Bumbry was a risk-taker as a singer, especially after she switched to soprano roles in the late 60's and 70's. That she was able to return to mezzo roles successfully was a tribute to her technique and a knowledge of what her voice could and couldn't do. Here her interpretation of Norma is rather generalized, not without interest, but not very memorable. She gets all the notes, even a top D at the end of Act One (by the skin of her teeth it must be admitted). The higher key of "Mira, o Norma" almost defeats her as she runs out of steam before the final C. Her final scene is well-sung, but not heartbreaking as the best Normas must be. Lella Cuberli sings very well and shows how effective a soprano Adalgisa can be. Giacomini is a stentorian Pollione with enough sex appeal to explain why the women are going crazy over him. He ducks the top C in his opening aria though. With his distinctive, craggy bass voice Robert Lloyd makes a strong Oroveso. Chorus and orchestra are good although there is occasionally a lack of coordination between stage and pit. Whether that's conductor Halasz's fault or a lack of rehearsal time, I can't tell. The gong used to summon the Druids is most impressive!Sound is from an excellent stereo broadcast source. Aside from some very brief static at the beginning of Act Two I have no complaints. Bumbry's many admirers should get this if only to hear her in a role she didn't sing often.

First let it be said that Bumbry secured her place as a super star in the operatic firmament long before this Norma. She does have her moments, just not enough of them. She begins all fire and personality, but the tessitura simply places the voice so her sublime timbre begins to lose its signature core. Dramatically, she becomes monochromatic, taking on a generic agitation that serves equally for sadness and madness. Cuberli is vocally colorless, dramatically bloodless. Giacomini makes much of Pollione, and seems to give Bumbry a shot of adrenaline when they are together. Robert Lloyd’s Oroveso is first class. As Clotilde, Eugenia Cardano’s wooden shoes come and go (hysterical!). Michael Halasz’s conducting is promising until “Casta diva”. From there on, well…as the performance progresses, the orchestra clearly has better things to do. Still glad I bought it…

Grab it. It is very good recording with interesting and excellent cast.