Marisa Galvany has the voice and most of the technique and some of the temperament for Norma, though one can feel it's a stretch for her at times; what she does not have is the genius of the role, the individual stamp that makes Callas's Norma, Sutherland's Norma, Caballe's Norma, even Eaglen's Norma each in its way a force to reckon with. Rather, Galvany is getting honorably through the role, not commanding it. She's performing Norma, not being Norma, if one can put it that way. The most consistently satisfying performance here is that of Viorica Cortez as Adalgisa, a really beautiful voice and overall quite stylish singing. The orchestra and chorus are committed and rather good, under Veltri's expert baton.

Marisa Galvany still has a loyal following among opera lovers who can't get enough of her exciting, passionate performances. Here she is in the role in which she made her last minute Met debut subbing for Shirley Verrett in 1979. I suspect she was more relaxed in Caracas where she wasn't under the pressure of a Met debut and could interpolate high notes more freely than in New York. She is a formidable Norma and phrases her music with obvious love and affection for the style. She interpolates the expected high D at the end of Act 1, but also adds an E-flat at the end of "In mia man" that is almost frightening in its vehemence. She isn't perfect: some of her coloratura is a little jumbled and her mezzo-tinted tone isn't the most beautiful. If you've wanted to hear Galvany's take on this Mt. Everest of bel canto roles here's your chance: you won't be disappointed.Viorica Cortez is a good Adalgisa who blends well with Galvany. Both singers lack that last bit of vocal refinement that might have made them superstars. Renato Francesconi is a solid Pollione who fits well into the ensemble. Like so many other tenors in this role, he ducks the top C in his aria. I'd be happy hearing a tenor of his quality today though. Bonaldo Giaiotti is an excellent Oroveso, beginning the opera with a real sense of occasion. The chorus is unusually strong. Michelangelo Veltri keeps his forces solidly together while pacing the opera very well.This was taken from a broadcast, but the original tape sounds a little worn in places though never unlistenable; the pitch of the tape is basically correct.Galvany fans must get this. It demonstrates again why many found her so exciting and, by extension, how exciting opera itself can be.