I am one of the strange Callas fans who prefers the later stereo remakes. Yes, Callas was more secure vocally in the earlier recordings, but she had gained and learned so much from experience that the minor vocal warts of the later recordings pale into insignificance. The extant 1955 Normas are kind of a "best of both worlds" deal though it is true Callas' voice has already become a bit less firm and more wiry from her vocal brilliance in the 1953 Trieste broadcast. The La Scala is taken from a stage performance and is more exciting than this earlier concert reading for RAI. Callas is just as involved here and she inspires her colleagues to give their best.Del Monaco sings Pollione with more variety than he would a decade later for Decca and Stignani sings capably, if without the vivacity of her studio recording with Gina Cigna in 1937. She tries to join Callas on the B-flat at the end of "Si, fine allore

She tries to join Callas on the B-flat at the end of "Si, fine allore", but can't quite make it. Modesti is a strong Oroveso. Ser

Serafin conducts rather slowly, if lovingly.The sound is excellent broadcast mono and is pitched correctly (unlike some other issues of this performance).Callas lovers should have this!

If you've not listened to Maria Meneghini Callas in a long while, her hollow, 'potatoes in mouth' placement will take some mental adjustment. Even so, this is an authoritative portrayal of Norma, one that brooks no objections and does full justice to the role's considerable demands (when she and Ebe Stignani join in ascending staccati it's a delight to the ear). Callas was on fire for this RAI broadcast and seems to inspire everyone else to their best behavior. That goes double for Mario del Monaco, a normally brash artist who modifies his usual, flood-like outpouring to provide a burnished, disciplined Pollione.Stignani needs no prodding. Aptly sounding younger than her Norma, she makes capital of Adalgisa's every utterance. The usually forgettable Act I cavatina is here a high point of the performance. Stignani gets her high notes by the skin of her teeth but that's a minor quibble, and she and Callas make beautiful music together. Giuseppe Modesti, an estimable if not distinctive artist, is here at his noblest as Oroveso. Tullio Serafin conducts with majesty. The sound is excellent.

This “Norma” is excellent, but does not reach the mountaintop that Callas and Del Monaco, joined by Giulietta Simionato, attained six months later for the opening night of the Scala season, Dec. 7, 1955. While the great student of Callas, John Ardoin, generally sees Serafin as far superior to conductor Antonino Votto, in these two performances Votto outshines Serafin who had a tendency to conduct things at a tediously slow tempo. Note the difference in the finale of Act II (“Perfido, or basti!”). Votto is clearly aware of the unparalleled dramatic moment Bellini intends whereas Serafin is pedestrian in his approach. And for her part, in December 1955 Callas underlines the heart of Norma’s predicament (betrayed by Pollione but still in love with him) in a way which she never achieves on any other recording. Listen to the difference between her performances of “Qual cor tradisti” in June 1955 (Serafin) and December 1955 (Votto), especially the way she sings “con me” and “con te.” The contrast between the two is astounding. I once had the honor of playing this passage for John Ardoin–and he agreed with me!