It is interesting the comments that have been written here about Cossotto’s behaviour. Charles Craig told us a few years later that the two ladies were not on speaking terms during the rehearsals. He seems to have been used as a go between , which he thought was a bit like a comedy show.

Wonderful ......

This is an exciting Norma and any fan of the opera or the singers should have it. Sutherland and Cossotto were both in fine voice as were Craig and Vinco. Bonynge does a fine job negotiating a truce between the divas. Truce? Well, legend has it that Sutherland and Cossotto didn't get on as well as Sutherland and Horne (at least in Buenos Aires.) At the end of the Act One finale Sutherland interpolates a thrilling high D only to have it slightly bested by Cossotto's high B a minor third below. Yes, it would've been more gracious for Cossotto to step out of her colleague's way for a moment, but the mezzo would have none of it. The duets are very well-sung and are accorded wild applause, Cossotto ducking no high notes.Some textual points: "Casta diva" is sung in the higher key of G while "Mira, o Norma" is sung in E-flat. Craig sings the written C in his opening aria. Sutherland does NOT interpolate an E-flat at the end of "In mia man".The sound is excellent broadcast stereo. My copy has those irritating pauses between tracks that afflict a few other Opera Depot releases. But who cares? If you love Norma or are a fan of these singers you must get this!

This may possibly be Sutherland’s most vocally limpid, dramatically intuitive performance of Norma. She seems almost introspective, offering more diction per measure here, than would be found on evenings to come. Throughout, her tone is radiant, heroic in declamation, supple in cantilena. At some other extreme, Cossotto is hell-bent to impress. Sadly, this only constricts her tone, turning her timbre metallic. Too seldom does she let her guard down to regain her familiar expansive bloom. A shame since with half the voice, she achieves twice the beauty. Charles Craig is virile and worthy of the company. Ivo Vinco is patriarchal and pastoral. Bonynge is no saint in these proceedings, allowing things to fly along until the next prelude or introduction, when he can show off his big baton.

Great performance ? -yes. I do not know whether it was because of her position on stage, but sometimes Dame Joan seemed to ebb and flow a little in volume. It's a small quibble.We in Ireland have always admired Charles Craig, and he does not disappoint here. Just one thing; Is it not a B natural in" Meco all' altar" ?. When I listen to Bonisolli on the live Munich with our great Irish soprano Suzanne Murphy' and Alicia Nafe, his top note in " Meco " is high C on my piano. Charles is a half tone below.I have read with interest Richard's comments re Vanne si mi lascia. I respect his opinion, but I cannot agree. It sounds fine to me and I do not think she screams. Surely Bonynge had a say. Incidentally on the live performance from Tokyo of 30/8/71 with Suliotis and Cecchele, she sings an A natural to the D of Suliotis and it also sounds fine.Anyway, this recording rates a prominent place on any Collector's shelf.

NOTE: I did not purchase this from Opera Depot, but I am certain I do have the same recording, so I though I would review it nonetheless.A great recording indeed. I won't repeat what others have already mentioned; I will, however, talk about the complaint of one reviewer concerning the high B at the end of Act I which Miss Cossotto sings under Dame Joan. First of all, the note makes sense with the chord, since the I chord rings at the end. Second of all, I consider that the highlight of the entire opera; I am extremely impressed that any singer can sing such a long phrase, much more a mezzo sustain a tessitura that high so well. That B is very audible under Joan Sutherland's huge voice, which is holding a perfect top D.The rest of the recording is also very impressing. I definitely recommend this.

As one who has known this performance for years, I would like to point out the utter piggishness of Cossotto in the great first act finale (“Vanne, si”). She insists on screaming a high B (rather than G and F#) under Sutherland’s D, the problem being that every other chord clashes with B natural. Only a miserable musician would think this is acceptable, but I am sure that the very difficult Ms. Cossotto could not be persuaded otherwise. She also attempts to outsing Sutherland at every occasion, so the duets are a combination of Joan’s refined singing and Cossotto’s “life begins at forte”. Bruttissima! When the two sang these roles at the Met a few months later, they had found common ground and sang the best Norma-Adalgisa duets I have ever heard (yes, including Sutherland-Horne).

Craig was a very underrated tenor in his own country but hghly cherished abroad,especially in Munich where they did not suffer bad tenors quietly.I have yet to hear a better high C in his opening ara,especially live where Del Monaco alvayd ducked it and so sometimes did Corelli himself.