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Opera Tuesday: Bellini – Norma Opera / Casta Diva (Maria Callas – recording of the Century : Tullio Serafin 1954)

06/08/2019

A classic recording

 

Vincenzo Bellini (1801-1835) – Norma : Opera in Two Acts

Casta Diva (00:00) The More Famous Overture (07:22) Act 1 Ite Sul Colle (13:16) Svanir Le Voci (23:18) Norma Viene (31:42) Sediziose Voci (36:27) Casta Diva (40:48) Fine Al Rito E Il Sacre Bosco (48:07) Sgombra È La Sacra Selva (53:13) Eccolo ! Va (59:16) Va, Crudele (1:00:53) Vanne, E Li Cela Entrambi (1:09:30) Oh, Rimembranza (1:17:37) Ma Di’ L’Amato Giovane (1:26:07) Oh Non Tremare (1:27:35) Oh Di Qual Sei Tu Vittima (1:29:09) Act 2 Dormono Entrambe.. Mi Chiami, O Norma! (1:37:22) Deh! Con Te (1:49:14) Mira, O Norma.. Cedi, Deh Cedi (1:53:28) Non Partì (2:00:42) Guerrieri, A Voi Venite.. Ah Del Tebro Al Gioggo Indegno (2:06:15) Ei Tornerà. Si.. Norma, Che Fu (2:11:09) Guerra! Guerra! (2:17:11) Nè Compi Il Rito.. Sacrilego Nemico (2:19:23) In Mia Man (2:23:37) Damni Quel Ferro (2:31:49) Qual Cor Tradisi (2:35:16) Norma, Deh! Norma Scolpati! (2:40:02)

Norma : Maria Callas Pollione : Mario Filippeschi Adalgisa : Ebe Stignani Oroveso : Nicola Rossi-Lemeni Flavio : Paolo Caroli Clotilde : Rina Cavallari

Coro del Teatro alla Scala, Milano Maestro del coro : Vittore Veneziani Orchestra del Teatro alla Scala, Milano Direttore : Tullio Serafin

Mono recording in 1954 New mastering in 2018 by AB

Label : EMI Callas and Norma, Wonderful excerpts to discover the work : 40:48 ; 1:17:37 ; 1:27:35 ; 1:29:09 ; 1:43:22 ; 1:49:31 ; 1:53:29 ; 2:12:16 ; 2:23:46 ; 2:24:23 ; 2:29:22 ; 2:42:43

Callas and Norma On 30th November 1948 the young Maria Callas made her debut in Bellini’s Norma at the Teatro Communale in Florence under the direction of Tullio Serafin, who prepared the 25-year-old soprano for that exacting role after her studies with Elvira de Hidalgo in Athens.

Callas revived the Romantic bel canto style in a truly revolutionary manner with her individual voice and vast vocal range which extended from high coloratura to heavy, dark dramatic soprano.

The tenor Mirto Picchi was her first Pollione and his memoirs vividly describe the elation of both public and critics alike after that first night in Florence. Zaffirelli has said ‘’Maria identified with Norma greatly. In a way it was her own story. Maria, after all, is a high priestess of her art. Yet, at the same time, she is the most fallible of women. Very human.

As Norma, Maria created the maximum of what opera can be. In a lifetime, one can see many great things in the theatre, but to see Maria Callas in Norma, what is there to compare to it ?

 

 

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