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Norma
Norma has long been regarded as a showcase for a star soprano, but the opera truly reaches its zenith when that soprano is paired with a mezzo of equal stature. Such is the case in this performance, where the luminous Montserrat Caballé joins forces with Tatiana Troyanos. Their partnership brings a rare balance and dramatic intensity to Bellini's masterpiece, elevating its impact to legendary heights. Caballé's voice, slightly past its absolute prime, shows a touch of hardness that occasionally tempers the ethereal quality of her famed pianissimo high notes. Yet what is lost in delicacy is offset by increased vocal size and dramatic heft, giving her portrayal remarkable presence. Troyanos once again proves her extraordinary versatility, matching Caballé with her rich tone, impeccable control, and superb command of bel canto style.
Track List
Act I
1. Preludio
2. Ite sul colle, o Druidi
3. Svanir le voci!
4. Meco all'altar di Venere
5. Me protegge, me difende
6. Norma viene – le cinge la chioma
7. Sediziose voci, voci di guerra
8. Casta diva
9. Fine al rito
10. Ah! bello a me ritorna
11. Sgombra è la sacra selva
12. Eccola! Va, mi lascia, Ragion non odo!
13. Vieni in Roma, ah, vieni, o cara
14. Vanne, e li cela entrambi
15. Adalgisa!... (Alma, costanza!)
16. Ah! Sì, fa core e abbracciami
17. Ma di' – l'amato giovane
2. Ite sul colle, o Druidi
3. Svanir le voci!
4. Meco all'altar di Venere
5. Me protegge, me difende
6. Norma viene – le cinge la chioma
7. Sediziose voci, voci di guerra
8. Casta diva
9. Fine al rito
10. Ah! bello a me ritorna
11. Sgombra è la sacra selva
12. Eccola! Va, mi lascia, Ragion non odo!
13. Vieni in Roma, ah, vieni, o cara
14. Vanne, e li cela entrambi
15. Adalgisa!... (Alma, costanza!)
16. Ah! Sì, fa core e abbracciami
17. Ma di' – l'amato giovane
Act II
18. Oh! Di qual sei tu vittima
19. Ferma!... Vieni
20. Dormono entrambi
21. Mi chiami, o Norma?
22. Deh! Con te, li prendi
23. Mira, o Norma, a' tuoi ginocchi
24. Sì, fino all'ore estreme
25. Non parli! Finora è al campo!
26. Guerrieri! A voi venirne credea foriero d'avvenir migliore!
27. Ah! Del Tebro al giogo indegno
28. Ei tornerà. Sì. Mia fidanza è posta in Adalgisa
29. Squilla il bronzo del Dio!
30. Nè compi il rito, o Norma?
31. In mia man alfin tu sei
32. Dammi quel ferro!
33. Qual cor tradisci, qual cor perdesti
34. Deh! Non volerli vittima
19. Ferma!... Vieni
20. Dormono entrambi
21. Mi chiami, o Norma?
22. Deh! Con te, li prendi
23. Mira, o Norma, a' tuoi ginocchi
24. Sì, fino all'ore estreme
25. Non parli! Finora è al campo!
26. Guerrieri! A voi venirne credea foriero d'avvenir migliore!
27. Ah! Del Tebro al giogo indegno
28. Ei tornerà. Sì. Mia fidanza è posta in Adalgisa
29. Squilla il bronzo del Dio!
30. Nè compi il rito, o Norma?
31. In mia man alfin tu sei
32. Dammi quel ferro!
33. Qual cor tradisci, qual cor perdesti
34. Deh! Non volerli vittima
Customer Reviews
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4.0
Based on 3 reviews
✓ Top Reviewer
United States
Exciting Performance in Excellent Sound!
It's hard to believe this performance was given nearly a half century ago; to many opera lovers in the 70s Caballé and Sutherland were the reigning Normas of their era. Caballé is heard here in her late prime (probably just past it). After about 1975 or so her voice took on a harshness on top that it generally didn't have before then. There's audible evidence of that in this performance though she has no disasters. "Casta diva" is well-sung and she negotiates the cabaletta with skill, but also some squealy top Cs (she sings Bellini's written ending that takes her only to B-flat). The rest of the opera finds her fully warmed-up and more at ease. She and Troyanos duet beautifully, singing the Act 1 duet without ducking the high Cs. "Mira, o Norma" is sung in E-flat. The finale of the opera is also most persuasively sung by Caballe. This isn't her greatest performance of Bellini's heroine, but she justifies her reputation nevertheless. As mentioned above, Troyanos is a lovely, powerful Adalgisa who listens and blends well with her colleagues. Lamberti is a good Pollione (he ducks the high C in his aria) and Zardo is a standout as Oroveso. Porzano and Fiorentini make something of their smaller roles. Gavazzeni knew this opera intimately and leads a well-paced, fiery performance. The chorus and orchestra also do fine work. The sound is excellent.Recommended to fans of the singers. If you're looking for a Caballé Norma start with the one from Orange 1974, also available from Opera Depot (#10769). That one captures her in her absolute vocal prime.
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✓ Top Reviewer
Switzerland
Bellini: Norma - Caballé, Troyanos, Lamberti, Zardo; Gavazzeni. Milano, 1977
Caballé in a bad day it's alway painfull !!!
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✓ Verified Buyer
Sweden
Largely well sung but distant recording
Had to turn up the volume for acceptable sound but then it was quite good. Gavazzeni is a reliable conductor in this repertoire and Caballé is almost as good as in the studio recording, made 5 years earlier. Troyanos' Adalgisa matches Norma well, but Lamberti 's Pollione seems to have had an off-day and is uncharacteristically strained. Zardo was a new name to me, but his Oroveso is more than servicable. It does not displace Callas II, Sutherland and Caballé in my affection but can still be worth returning to for Troyanos' Adalgisa.
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