Rina & Ge [Import]

Product Description
Rina and GÐ Make the Perfect Duet. They Are Both Superstars in the Afrikaans Music Genre and Both have a Number of Platinum Selling Album under their Hats.

Rina & Ge,Rina & Ge,EMI,World Music

Average customer rating: all-star cast Portrait of an Artist This reissue is great Wondrous recording The Greatest Norma On Record And Calla's Greatest Role

Bellini: Norma (complete opera) EMI's Great Recordings of the Century with Maria Callas, Tullio Serafin, Chorus & Orchestra of La Scala, Milan Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Donizetti: Lucia di Lammermoor (complete opera) EMI's Great Recordings of the Century with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin Verdi: Il Trovatore (complete opera) EMI Great Recordings of the Century with Maria Callas, Giuseppe di Stefano, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan Wagner: Lohengrin ASIN: B0000CG8EK Release Date: 2003-10-07

Tracks:

1. Act 1, Scene 1: Sinfonia
2. Introduzione (Andante Grave)...(Orchestra) Ite Sul Colle, O Druidi
3. Dell'aura Tua Profetica (Oroveso/Coro)
4. Svanir Le Voci! (Pollione/Flavio)
5. Meco All'altar Di Venere (Pollione)
6. Odi? I Suoi Riti A Compiere (Flavio/Coro/Pollione)
7. Me Protegge, Me Difende
8. Allegro Assai (Orchestra) Norma Viene (Coro)
9. Sediziose Voci (Norma/Oroveso/Coro)
10. Casta Diva
11. Fine Al Rito, E Il Sacro Bosco
12. Ah! Bello A Me Ritorna (Norma/Oroveso/Coro)
13. Andante...(Orchestra) Sgombra E La Sacra Selva
14. Deh! Proteggimi, O Dio! (Adalgisa)
15. Eccola- Va, Mi Lascia
16. Va, Crudele
17. Vieni In Roma (Pollione/Adalgisa)

Tracks:

1. Allegro Agitato (Orchestra) Vanne, E Li Cela Entrambi (Norma, Clotilde)
2. Adalgisa!...Alma, Costanza
3. Oh, Rimembranza!
4. Ah Si, Fa' Core, Abbracciami
5. Ma Di: L'amato Giovane
6. Oh, Di Quai Sei Tu Vittima
7. Perfido!...Or Basti! (Norma/Adalgisa/Pollione)
8. Vanne, Si, Mi Lascia, Indegno (Norma/Pollione/Adalgisa/Coro)

Tracks:

1. Introduzione (Allegro Assai Moderato) (Orchestra)
2. Dormono Entrami! (Norma)
3. Ola! Clotilde! (Norma/Clotilde)
4. Mi Chiami, O Norma?
5. Deh! Con Te, Con Te Li Prendi
6. Mira, O Norma
7. Cedi, Deh Cedi!
8. Si, Fino All'Ore Estreme (Adalgisa/Norma)
9. Allegro Maestoso...(Orchestra) Non Parti? (Coro)
10. Guerrieri! A Voi Venirne
11. Ah! Del Tebro Al Giogo Indegno (Oroveso/Coro)
12. Andante Maestoso...(Orchestra) Ei Tornera! Si! (Norma/Clotilde)
13. Squilla Il Bronzo Del Dio!
14. Guerra! Guerra! (Oroveso/Coro/Norma)
15. Ne Compi Il Rito, O Norma? (Oroveso/Norma/Clotilde/Coro/Pollione)
16. In Mia Man Alfin Tu Sei
17. Ah, Crudele! In Sen Del Padre (Norma/Pollione)
18. Dammi Quel Ferro!
19. Qual Cor Tradisti
20. Norma! Deh Norma! Scolpati
21. Deh! Non Volerli Vittime (Pollione/Norma/Oroveso/Coro)

Customer Reviews:

all-star cast.......2007-06-13

The recording is exactly what you would expect from an all-star cast.

Owners of the Schirmer piano score, watch out for cuts from page 44 to 48, 76 to 80, and 106 to 107. The endings of bth acts are also different.

Portrait of an Artist.......2005-05-16

No other role is more associated with Maria Callas than the role of the Druid priestess Norma. Throughout her career, what survived out of the ninety Normas that she sang showed a growth in Maria as an artist and as a vivid painter of this extremely complex role. An excerpt of her 1949 Norma from Buenos Aires shows a warrior priestess who is in complete control of her vocal resources. In that recording (Divina Records 12), Callas is in splendid vocal form, giving one of her most vocally delectable interpretations of Casta Diva. Already in 1949, we see an artist who understood the part, but still didn't offer us a feminine side to it. During that same year, a Cetra recording with the Casta Diva...Ah Bello a me ritorna excerpt was released, also finding her in splendid vocal form (akin to Ponselle's Casta Diva, only better in coloratura facilities). It was an amazing document of the young Callas' career, and I'd recommend it to anyone who would like to discover Callas' voice. A year later, we have her Norma in Mexico, and we find a more warrior-like approach to the music, but nonetheless it gave an amazing effect to the fury duets in the second act. Two years later, in London, we find Callas giving us more of the woman along with a Stignani who was in splendid vocal form. Then the Trieste excerpts (also by Divina) shows another side of Callas in which we see her development as an artist. This is very much like the Sunflowers of Vincent Van Gogh, where each successing Sunflower painting shows a more intimate and personal side of poor Vincent. The next Norma document we have of Callas is this studio recording. Once again, Serafin and Callas collaborate in this recording, and oh what a recording it was! Callas, of course, is the biggest star in this Norma, but other singers like Stignani and Rossi-Lemeni make an impact on it as well. Although Stignani well into her years (as was her voice), her great dramatic mezzo soprano timbre was amazingly so, an instrument of that served the role well. After all, she had sung the role with Gina Cigna. Stignani may have sounded matrimonly enough to be Norma, but her Adalgisa was in every respect grande and complete. It may not have Ludwig's amazing and youthful insight into the role, but what a force of nature her voice was! Rossi-Lemeni is also another dramatic force to reckon with, and he is an Oroveso I would treasure the more I listen to him. Mario Filipesschi though, is lousy. He was vocally able, but his interpretation was lacking and he sounded boring. Callas though, is beautiful sounding in this recording. She was a complete Norma vocally and dramatically, and every excerpt that showcases her abilities as a singer is simply exquisite. She was also slimmer when this recording was made, so there was a certain sensitivity to her voice when she sang this Norma. And then there is Serafin. No other conductor has approached the genius of this man. His perfect use of the bel canto tempo gives it a dimension that no other maestro would touch, and this is the reason why I would recommend this recording. Other great Normas would follow, but this was the recording that would put Callas' stamp on the role forever.

This reissue is great.......2005-04-11

I don't have to elaborate the good things about this recording most what I have to say has been said by previous reviewers. Please read the reviews especially in the original cover edition. What I would like to say that this reissue is a cheaper version than the original black cover without compromising quality and cover. So for those who have not purchased this great recording (best Norma Studio recording ever) This is you chance to get this. In its label it says "The Great Recordings of the Century" I could never disagree with that.

Wondrous recording.......2005-03-31

This is one of a number of recordings I have with Callas, including one where Joan Sutherland plays Clotilde (this is a live recording and the sound is not great, but the performance simply sizzles and again Stignani is the Adalgisa). However, to this recording. At first I was not impressed with it like I felt I would be. Of course, Callas didn't disappoint at all, but the rest of the cast sort of bothered me. Norma's father was sung in a way with virtually no legato at all and sort of shoved out note by note. There was no characterization to speak of, but the voice was full (perhaps recorded very closely miked and forward). Pollione really sort of bothered me, as he is the first really important lead we hear. Of course, this role was sung by Mario Filippschi. He sounded old, but his high C was wonderful. I had to consult the booklet that came with the recording to learn a thing about him (which was precious little) but it did give his birth and death dates. The man was OLD when he recorded the role. He may have been a wonder in his younger days, as he was considered for the longest time the only tenor who could successfully sing the role of Arnoldo in Rossini's William Tell. However, when he recorded this opera, he was, well, nearing the age most tenors gladly stop singing. That said, with repreated listenings, I started to really see what he was offering the role. He had heart, he had masculinity, he had passion. And he did sing the notes. I found his diction much better than Stignani's and he sang the correct sound for most of his vowels (Stignani has a terrible habit of singing all the "e" vowels, said in Italian as an "AY" sound to those who speak English, with all sorts of vowel sounds, and it didn't matter if the vowel occurred in the passagio or not, so covering or darkening the tone for the passagio was not the reason). I also found he did play off Callas' Norma well. He could act with his voice, but in all truth, it is one of those non-descript voices that serves the music well and drifts out of the hearer's memory. No, he is not a Corelli, but he sings with far more finesse than Corelli does, and he never had to SCOUP up to his higher notes, and he followed the timing of the music perfectly. I really learned to appreciate his contribution to the opera.

Then there was Stignani. I have many recordings of her, some made way back when (back with Gigli) and she was electrifying in them. She had better diction as well and didn't distort her vowels as she does in this recording. However, as with Filippischi, she is no spring chicken. She is a "great dame" by this point in her life. Her legato line was not as it should have been (or as it was in the live recording I have), but it was by no means bad. One could tell hers is a huge voice, and well, they never record well. There was a super strong "squillo" to the sound (incredible ring, which is what a singer wants, even Callas has it, though her production is far too forward) which in and of itself gives excitement to whatever she sings. Personally, I felt she was far too old for Adalgisa by this point in her career, even though she sings it well (though to those who don't know, the duets are sung in the lower keys used by Ponselle when she sang the opera, not in the published keys in the score). I really doubt her ability to sing higher notes was the reason for the lower keys, for at that time period, it was normal to use the lower keys.

However, Stignani does dodge the high C in the first act duet with Callas, and it is sad, but not a loss. I am not sure about the characterization of her role, for I really didn't feel for a moment I was listening to the fears and loves of a young vestle virgin wondering what to do with her first love. At times, I almost thought she should be giving Callas advice on love, she seemed old enough to be her mother.

Yet, that said, I came to really love the performance. It is said that Stignani sounds "old fashioned" and that is quite a good desciption. She sings the role as it was sung in the olden days of opera (some call the golden age) and many of her methods and approaches to singing the role were also sung by Telva when she sang the role against Ponselle's Norma. That was how the world saw the opera then. We see it differently, and partly because of Callas and her new approach to things.

Now we get to the NORMA of the opera, Callas. I have a number of recordings of Callas in this role, this and another studio recording, and two live performances, one at Covent Garden with the Clotilde of Sutherland, and the Paris opera performance near the end of her career (where she flubs a High C in the last act, stops the performance and resings the phrase getting the note, and by the way, I was at that performance in person, so I had the opportunity to witness a Callas Norma, even if it was at the end of her career).

Though I agree with everyone when they say they find more subtleties with the later recording (and you will find even more in the Paris performance), Callas' basic understanding of Norma never changes. She knows what Norma is all about right from the get go. Maybe that was her work with Serafin that did that (after all, she very openly attributes her way with a recitative directly to him, and that he taught her how to make coloratura make dramatic sense, and she certainly does make it make dramatic sense). Whatever it was, this was a role that will forever be associated with Callas, and like many say, she is the only real Norma out there. Sutherland, Sills, and Caballe may have sang the notes more beautifully, but they didn't grasp, or if they did they couldn't convey it in their voices, the depth of character, nor the emotional distress of the character. Everyone sings her "angry moments" well, but what most forget is this is a woman who has lived a life of a lie for years. She is not the virgin she pretends to be. And that personal disappointment, that knowledge of self, that inner knowing of one's own hypocrasy, is there, even when Callas opens her mouth to begin the recitative that will lead us into the Casta Diva. As when Callas sang Violetta, we knew she was sick right from the get go, we know that Norman is a tormented creature right from the first notes, which makes her caballetta after the Casta Diva meaningful, for after all, she is not wanting her lover to be destroyed.

This recording has much to offer, and much joy to give. I rated it only 4 stars because of my reservations with the cast (it seems more often than not, Callas is paired with far inferior casts in her recordings, which is such a shame; imagine if she had singers, both men and women, equal to her in presentation, coloratura, musicianship, and in dramatic interpretation). However, having seen Norma many times by various artists, I tend to agree with one reviewer who stated that we sadly see anyone get up there and sing this opera really ruining it because they have no business being up there singing it, even if they have all the notes.

Callas may have not had the most beautiful voice, but she had far more than all the notes, she had the entire soul of the character; Callas is Norma.

The Greatest Norma On Record And Calla's Greatest Role.......2005-02-02

This is the best version of Bellini's Norma on record because of the power and beauty of Maria Callas' voice which was at its prime in this recording. Maria Callas in her legendary 1954 performance as Bellini's epic character Norma..what more can you ask for ? Fans of the great late diva will be pleased. She has the best voice on this recording than all the subsequent late 50's and 60's recordings. It benefits from having conductor Tulio Serafin, who knew how to work well with Callas, as the force behind the music. Serafin made Callas a star actually, because he knew how to effectively bring out the best in her.

Maria Callas in this Norma is fresh, powerful and complex. She is plaintive and spiritual in the serene "Casta Diva" aria, dazzling in the coloratura "A Bello A Mi Ritorna" and she changes from love-struck woman to a volcano of fury and revenge in the later scenes to finally noble and resigned in the finale. Only Callas could most dramatically portray Norma. It is true that Callas's singing technique emphasized the dramatic intensity more so than the beauty. She wanted for audiences to be treated to real drama. She strained her voice so hard that it can be a gritty ugly voice. Even like this, there are moments in which Maria Callas sounds absolutely beautiful. The weak cast supporting her are indeed inferior when compared to such singers as tenors Franco Corelli, Mario Del Monaco and mezzo soprano Christina Ludwig which Callas worked with in later recordings. But this doesnt matter seeing how Maria is the real star anyways.

Other Normas of great calibre include Shirley Verrett and Montserrat Caballe. Both these sopranos once visited Callas and sought advice for how to sing a sensational Norma. Callas told them not to overdo it or to oversing it. Shirley Verrett sang a fine Norma and is indeed closer to Callas than Caballe but Caballe did the role numerous times and seemed to master the role quite well. If you are looking for the best Norma look no further.

Average customer rating: J'attendrai

J'Attendrai Rina Ketty Manufacturer: Membran/Intense ProductGroup: Music Binding: Audio CD General | International | Styles | Music General | Vocal Pop | Pop | Styles | Music International | Imports | Stores | Music 4-for-3 International | 4-for-3 Music | Stores | Music 4-for-3 Pop | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: Les 100 Plus Belles Chansons d'Amour Best Recordings 1 ASIN: B0001ZA13K Release Date: 2006-04-18

Tracks:

1. J'attendrai
2. Sombreros Et Mantilles
3. Serenade Sans Espoir
4. Montevideo
5. Gigi
6. Ecoutez Le Pastorello
7. Tant Que Je Vivrai
8. Je N'ai Qu'une Maman
9. Derniere Serenade
10. Serenade Argentine
11. Puisque Tu Me Reviens
12. Roulotte Des Gitans
13. Chante Encorde Dans La Nuit
14. Baisers Dans Le Soir
15. Pres De Naples La Jolie
16. Si Tu Reviens
17. Mon Coeur Soupire
18. Madone Aux Fleurs
19. Rappelle-Toi
20. Te Revoir Mon Amour
21. Pardonne-Moi
22. Dans Les Bras D'un Matelot

Customer Reviews:

J'attendrai.......2007-05-13

J'attendrai (I Will Wait) is an old beautiful french love song.
This CD is wonderful to listed to.
Arrived in excellent condition.

Average customer rating: Cut the price and we'll make it a 5. A deeply satisfying "Traviata', beautifully sung and conducted!

Verdi: La Traviata Manufacturer: Testament UK ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Similar Items: Verdi: La Traviata Wagner: Tristan und Isolde [Includes Bonus DVD] ASIN: B0007VXZFE Release Date: 2005-07-12

Customer Reviews:

Cut the price and we'll make it a 5........2007-07-12

This is my favorite recording of Traviata, ever. One big reason is the conducting of Monteux, who makes the score sing like no one else (RCA tried to catch lightning in a bottle twice by hiring George Pretre to conduct the Caballe version, but that didn't work out so well). The singers are pretty close to ideal. Carteri is great, a fine actress with a beautiful voice that she uses with impeccable taste and technique. I wouldn't say Valletti was too light; I think rather the part is usually overcast with heavy hitters like Pavarotti and Domingo. Valletti is matchless in conveying Alfredo's youth and ardor, and his singing is lovely. Warren is authoritative, his voice a little plummy for my taste but no real complaints. The cuts are the sensible ones folks used to make to keep the drama moving along, and most of the omissions are no big deal. We don't really need both verses of "Ah, fors'e lui" (colloquially known as "Don't force me, Louie" or the baritone's cabaletta, now do we? The sound is fine.

Why not 5 stars? Well, 50 bucks for an old Traviata is just silly. I'm going to pick up a used copy for about 30, since I really do cherish this performance, but come on. If the price ever does approach something reasonable, do not hesitate.

A deeply satisfying "Traviata', beautifully sung and conducted!.......2006-03-10

This has often been referred to as a 'classical' performance but has been out of the catalogue for too long a time. Now it can be judged on its own merits. Alan Blythe's Gramophone review is right on; "You would be lucky indeed to hear today three principals with voices so appropriate to their roles and with the wherewithal as regards technique to fulfill all the exigent requirements their roles call for". I really respect Blythe in his reviews. When he dislikes some performance or performer he is honest but not denegrading. Warren is excellent: his rich timber, powerful register and warmth bring back memories of his monumental performances in the 50s at the Met. His Verdi has rarely been equalled. Valletti had a beautiful light, fluid tenor. He might be a little over-parted in this role, but he sings with immaculately pure tone. In the two duets with Carteri he is truly in his realm. Carteri sings very well, has a clear and pleasant sound. Her final aria is exquisite along with the rest of the closing scene. Too bad the aria is cut as it often was in those days. Classics Today.com is really brutal in its review of this recording: it really goes over the scathing top. The tempo is slow, but not dull, Monteux lets the opera play itself; after all Violetta is not an Elektra or Alfredo a Siegmund. Every opera lover has their favorite Traviata and this one deserves to be heard at least. Too bad Testament likes high prices. Their booklets, presentation, recording are top notch but over $20 per disc is pretty steep. Shop around. Five stars anyway, The Callas Violetta and the Traviata dvd with Gruberova and Shicoff are on another plain. Why compare? .... Enjoy the performance for the pleasure it so plentifully affords. Thanks to Testament for making it available.

Average customer rating: One of Opera's Best, Most Enjoyable Recordings Sublime accents, sublime singing from Callas Norma=Callas An Amazing Norma! Sheer perfection

Bellini - Norma / María Callas Vincenzo Bellini , Tullio Serafin , Maria Callas , Mario Filippeschi , Rina Cavallari , Paolo Caroli , and Nicola Rossi-Lemeni Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Baritones | Voices | Opera & Vocal | Styles | Music Callas, Maria | Divas | Opera & Vocal | Styles | Music Similar Items: Cherubini: Medea (complete opera live 1953) with Maria Callas, Fedora Barbieri, Leonard Bernstein, Orchestra & Chorus of La Scala, Milan Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan Verdi: Il Trovatore (complete opera) with Maria Callas, Giuseppe di Stefano, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan Verdi: Rigoletto (Complete Opera); Maria Callas; Tito Gobbi; Giuseppe di Stefano Puccini: La Boheme (complete opera) with Maria Callas, Giuseppe di Stefano, Anna Moffo, Antonino Votto, Chorus & Orchestra of La Scala, Milan ASIN: B000002RXP Release Date: 1997-08-19

Tracks:

1. Norma: Sinfonia - Orchestra E Coro Del Teatro Alla Scala
2. Norma: Act One, Scene One: Ite sul colle...Dell'aura tua profetica - Orchestra E Coro Del Teatro Alla Scala
3. Norma: Scene One: Svanir le voci ! - Orchestra E Coro Del Teatro Alla Scala
4. Norma: Scene One: Meco all'altar di Venere - Orchestra E Coro Del Teatro Alla Scala
5. Norma: Scene One: Odi?...I suoi riti a compiere - Orchestra E Coro Del Teatro Alla Scala
6. Norma: Scene One: Me protegge, me difende - Orchestra E Coro Del Teatro Alla Scala
7. Norma: Scene One: Norma viene - Orchestra E Coro Del Teatro Alla Scala
8. Norma: Scene One: Sediziose voci - Orchestra E Coro Del Teatro Alla Scala
9. Norma: Scene One: Casta Diva - Orchestra E Coro Del Teatro Alla Scala
10. Norma: Scene One: Fine al rito, e il sacro bosco - Orchestra E Coro Del Teatro Alla Scala
11. Norma: Scene One: Ah! bello a me ritorna - Orchestra E Coro Del Teatro Alla Scala
12. Norma: Scene One: Sgombra la sacra selva - Orchestra E Coro Del Teatro Alla Scala
13. Norma: Scene One: Eccola - va, mi lascia - Orchestra E Coro Del Teatro Alla Scala
14. Norma: Scene One: Va, crudele - Orchestra E Coro Del Teatro Alla Scala
15. Norma: Scene One: Vieni in Roma - Orchestra E Coro Del Teatro Alla Scala

Tracks:

1. Norma: Scene Two: Vanne, e li cela entrambi - Vincenzo Bellini
2. Norma: Scene Two: Adalgisa!...Alma, costanza - Vincenzo Bellini
3. Norma: Scene Two: Oh, rimembranza - Vincenzo Bellini
4. Norma: Scene Two: Ah si, fa core, abbracciami - Vincenzo Bellini
5. Norma: Scene Two: Ma di'...l'amato giovine? - Vincenzo Bellini
6. Norma: Scene Two: Oh, di qual sei tu vittima - Vincenzo Bellini
7. Norma: Scene Two: Perfido!...Or basti! - Vincenzo Bellini
8. Norma: Scene Two: Vanne, si, mi lascia, indegno - Vincenzo Bellini

Tracks:

1. Norma: Act Two, Scene One: Introduzione - Vincenzo Bellini
2. Norma: Scene One: Dormono entrambi! - Vincenzo Bellini
3. Norma: Scene One: Ol ! Clotilde! - Vincenzo Bellini
4. Norma: Scene One: Mi chiami, o Norma? - Vincenzo Bellini
5. Norma: Scene One: Deh! con te, con te li prendi - Vincenzo Bellini
6. Norma: Scene One: Mira, o Norma - Vincenzo Bellini
7. Norma: Scene One: Cedi...deh cedi! - Vincenzo Bellini
8. Norma: Scene One: Si, fino all'ore estreme - Vincenzo Bellini
9. Norma: Scene Two: Non parti? - Vincenzo Bellini
10. Norma: Scene Two: Guerrieri! a voi venirme - Vincenzo Bellini
11. Norma: Scene Two: Ah! del Tebro al giogo indegno - Vincenzo Bellini
12. Norma: Scene Three: Ei torner . Si! - Vincenzo Bellini
13. Norma: Scene Three: Squilla il bronzo del Dio! - Vincenzo Bellini
14. Norma: Scene Three: Guerra! guerra! - Vincenzo Bellini
15. Norma: Scene Three: Ne compi il rito, o Norma? - Vincenzo Bellini
16. Norma: Scene Three: In mia man alfin tu sei - Vincenzo Bellini
17. Norma: Scene Three: Gi mi pasco ne' tuoi sguardi - Vincenzo Bellini
18. Norma: Scene Three: Dammi quel ferro! - Vincenzo Bellini
19. Norma: Scene Three: Qual cor tradisti - Vincenzo Bellini
20. Norma: Scene Three: Norma! deh! Norma, scolpati! - Vincenzo Bellini
21. Norma: Scene Three: Deh! Non volerli vittime - Vincenzo Bellini

Amazon.com essential recording

A recording of Norma is essential for any Maria Callas collection. This intense and musically demanding drama deals with forbidden love, infidelity, conflicting emotions, and death that comes almost as a relief from overwrought passion. It gives Callas golden opportunities for characterization and dramatic gestures in her timing, vocal coloration, verbal and dynamic emphases. Of the half-dozen or more perennially on the market, the first choice is this one, dating from 1954 when her voice was in relatively good shape (although the 1960 EMI recording, also conducted by Tullio Serafin, had even better acting and, in Christa Ludwig, a much better supporting cast). Callas is essential to those who enjoy opera primarily as theatre. The singing is vivid, if typically uneven, and reinforced by Serafin's expert conducting. --Joe McLellan

Customer Reviews:

One of Opera's Best, Most Enjoyable Recordings.......2006-06-06

This album reinforces why Maria Callas has long been considered one of opera's best, if often underestimated, performers. Of course, Callas sang Norma more than any other opera during her career, so we should expect a terrific performance. Even so, what makes this exceptional is that you can tell Callas isn't just singing the part, but acting it, as well - something far too many "divas" today don't make the effort to do. If you enjoy opera -- even if you're still "trying it out" -- this is one you must hear and can't go wrong buying.

Sublime accents, sublime singing from Callas.......2006-03-13

Any recording of Callas singing Norma is worthy of owning. In this recording, Maria Callas herself is in unbeatable form, singing Norma as though possessed of an angel. It's like hearing a vivid, bright painting on the walls of a Roman villa come to life, complete with jealousy, nobility, fury, tenderness, and sublime maturity.

I am not overfond of Ebe Stignani, I must admit. I have heard glowing reviews of her singing, but nothing in which I've heard her has impressed me greatly. So her singing in this (one of two recordings with Callas, singing Adalgisa to Callas's Norma) did not overwhelm me. I cannot speak over-highly of Mario Filippeschi (Pollione) either. To me, he sounds old and strained.

But oh heavens! Callas! To hear Callas in the sublime role of Norma is to hear heaven itself singing. One puts up with the lesser singers, even the not-very-good chorus, simply to hear the voice of Callas as she becomes the druidic priestess whose struggle between love and duty have resulted in her being discarded, only to achieve a final victory in her sacrifice, a victory that opens the faithless Pollione's eyes once more to what a remarkable woman she is...

Norma=Callas.......2005-09-22

I can't elaborate right now; I will try later. Simply the most moving Callas recording I've heard to date, and no other "Norma" recording even rates a close 2nd, not even the later Callas. Every opera lover must own this version. Surely one of the top ten complete opera recordings ever made.

An Amazing Norma!.......2004-10-28

This is how bel canto should be sung! Indeed, Callas is Norma. She breathed life to the role, nurtured it in her 98 performances of the opera, and took the character to her death in 1977. Never before in recording history was any other artist (besides Joan Sutherland, who, although was a vocally beautiful Norma, was not dramatically convincing enough) able to interpret one of opera's most challenging roles vocally and dramatically onstage. From Callas' solemn interpretation of Casta diva to her dream-like, almost girlish "Ah bello mi ritorna" to the viper-like sting of her anger in the second half of the second act, her voice fit Norma's emotions in every way possible. Maybe it was the multi-faceted coloration of the role which gave her Norma a much more convincing aura than everything else offered on the market did, or perhaps it was because she was simply the greatest opera singer the world has ever seen. Never again will there be another singer like her, and never again in the history of opera will there be another great Norma!

Of course, besides Callas, there are other components of this record which merits it as one of the best Normas on record. First of all, Tullio Serafin, the conductor of the opera, commands his orchestration of Norma with such an amazing baton which would have agreed with Bellini's well meant score. The tenor, Mario Fillipeschi, although nowhere near the grand vocals of Corelli or del Monaco, could more or less pull off an amazing Pollione. Ebi Stignani, although quite old for the role of Adalgisa, delivered a more-than-adequate performance of Norma's priestess. All in all, one of the greatest opera recordings ever.

Although this Norma would have been better if del Monaco or Corelli sang the role in 1954 in the studio, or if Giulietta Simionato, Fiorenza Cossotto, or Christa Ludwig would have sung Adalgisa, or even Niccolo Zaccaria as Oroveso, this Norma is simply one of the indelible opera recordings ever to have been made not only because Callas was in there (although I'm sure this is the reason why I bought this), but because it was the genius of the performers which give this Norma such an amazing insight into the interpretation of its characters.

Sheer perfection.......2004-10-19

This is the perfect addition to Callas' feminine and dramatic studio-recording of Norma in 1960. Here, in 1954, she portrays Norma with more vigour and heft and is technically impeccable. Both recordings must be in every Callas- and/or Opera-collection.

Average customer rating: A Classic Set Callas is okay- Price the ONLY VERDI SOPRANO???? An excellent "Forza" but not the best all round performance Brilliant Forza and a stupid reviewer Brilliant - But I also love Tebaldi

Verdi: La Forza Del Destino (complete opera) with Maria Callas, Richard Tucker, Tullio Serafin, Chorus & Orchestra of La Scala, Milan Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Callas, Maria | Divas | Opera & Vocal | Styles | Music Vocal Works by Verdi | Verdi, Giuseppe | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music Similar Items: Verdi: Un Ballo In Maschera (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Antonino Votto, Chorus & Orchestra of La Scala, Milan Puccini: Manon Lescaut (complete opera) with Maria Callas, Giuseppe di Stefano, Tullio Serafin, Chorus & Orchestra of La Scala, Milan Donizetti: Anna Bolena (complete opera live 1957) with Maria Callas, Gianni Raimondi, Gianandrea Gavazzeni, Orchestra & Chorus of La Scala, Milan Verdi: Il Trovatore (complete opera) with Maria Callas, Giuseppe di Stefano, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan Puccini: La Boheme (complete opera) with Maria Callas, Giuseppe di Stefano, Anna Moffo, Antonino Votto, Chorus & Orchestra of La Scala, Milan ASIN: B000002RY5 Release Date: 1997-08-19

Tracks:

1. La forza del destino: Sinfonia
2. La forza del destino: Act One: Buona notte, mia figlia (Leonora)
3. La forza del destino: Act One: Temea restasse qui fino a domani! (Leonora)
4. La forza del destino: Act One: Me pellgrina ed orfana (Leonora)
5. La forza del destino: Act One: M'aiuti, signorina, piu presto andrem (Leonora)
6. La forza del destino: Act One: Ah, per sempre, o mio bell'angiol (Alvaro, Leonora)
7. La forza del destino: Act One: Vil seduttor! Infame figlia! (Leonora, Alvaro)
8. La forza del destino: Act Two: Scene One: Hola, hola, hola! Ben giungi, o mulattier
9. La forza del destino: Act Two: Scene One: La cena e pronta (Carlo)
10. La forza del destino: Act Two: Scene One: Che vedo! Mio fratello! (Leonora, Carlo)
11. La forza del destino: Act Two: Scene One: Viva la guerra! (All)
12. La forza del destino: Act Two: Scene One: Al suon del tamburo (All)
13. La forza del destino: Act Two: Scene One: Padre Eterno Signor (Leonora, Carlo)
14. La forza del destino: Act Two: Scene One: Viva la buona compagnia! (Carlo, Preziosilla)
15. La forza del destino: Act Two: Scene One: Poich'e imberbe l'incognito (Carlo)
16. La forza del destino: Act Two: Scene One: Son Pereda, son ricco d'onore (Carlo)
17. La forza del destino: Act Two: Scene One: Sta bene (Preziosilla, Carlo)
18. La forza del destino: Act Two: Scene Two: Sono giunta! Grazie, o Dio! (Leonora)
19. La forza del destino: Act Two: Scene Two: Madre, pietosa Vergine (Leonora)
20. La forza del destino: Act Two: Scene Two: Chi siete? (Melitone, Leonora)
21. La forza del destino: Act Two: Scene Two: Chi mi cerca? (Guardiano, Leonora, Melitone)
22. La forza del destino: Act Two: Scene Two: Infelice, delusa, rejetta (Leonora, Guardiano)
23. La forza del destino: Act Two: Scene Two: Il santo nome di Dio Signore sia benedetto (Guardiano)
24. La forza del destino: Act Two: Scene Two: La Vergine degli Angeli (Guardino, Leonora, All)

Tracks:

1. La forza del destino: Act Three: Scene One: Attenti al gioco, attenti, attenti al gioco
2. La forza del destino: Act Three: Scene One: La vita e inferno all'infelice
3. La forza del destino: Act Three: Scene One: O tu che in seno agli angeli (Alvaro)
4. La forza del destino: Act Three: Scene One: Al tradimento! (Carlo, Alvaro)
5. La forza del destino: Act Three: Scene One: All'armi!
6. La forza del destino: Act Three: Scene Two: Arde la mischia!: Piano...qui posi...approntisi il mio letto (Alvaro, Carlo)
7. La forza del destino: Act Three: Scene Two: Solenne in quest'ora (Alvaro, Carlo)
8. La forza del destino: Act Three: Scene Two: Morir! Tremenda cosa!
9. La forza del destino: Act Three: Scene Two: Urna fetale del mio destino (Carlo)
10. La forza del destino: Act Three: Scene Two: E s'altra prova rinvenir potessi? (Carlo)
11. La forza del destino: Act Three: Scene Three: Compagni, sostiamo
12. La forza del destino: Act Three: Scene Three: Ne gustar m'e dato un'ora di quiete (Alvaro, Carlo)
13. La forza del destino: Act Three: Scene Three: Lorche pifferi e tamburi par che assordino la terra (Preziosilla)
14. La forza del destino: Act Three: Scene Three: Qua, vivandiere, un sorso
15. La forza del destino: Act Three: Scene Three: A buon mercato chi vuol comprare?
16. La forza del destino: Act Three: Scene Three: Pane, pan per carita!
17. La forza del destino: Act Three: Scene Three: Nella guerra e la follia (Preziosilla)
18. La forza del destino: Act Three: Scene Three: Toh! Toh! Poffare il mondo! Che tempone! (Melitone, Preziosilla)
19. La forza del destino: Act Three: Scene Three: Rataplan, rataplan, della gloria (Preziosilla)

Tracks:

1. La forza del destino: Act Four: Scene One: Fate la carita, e un'ora che aspettiamo! (Melitone, Guardiano)
2. La forza del destino: Act Four: Scene One: Giunge qualcuno, aprite (Guardiano, Melitone)
3. La forza del destino: Act Four: Scene One: Invano Alvaro ti celasti al mondo
4. La forza del destino: Act Four: Scene One: Le minaccie, i fieri accenti (Alvaro, Carlo)
5. La forza del destino: Act Four: Scene Two: Pace, pace mio Dio! (Leonora)
6. La forza del destino: Act Four: Scene Two: Io muoio! Confessione! (Carlo, Alvaro, Leonora)
7. La forza del destino: Act Four: Scene Two: Non imprecare, umiliati a Lui ch'e guisto e santo (Guardiano, Leonora, Alvaro)

Amazon.com

If it were not for Maria Callas, we would all think that La Forza del Destino is essentially a prime exercise and showcase for great soprano voices, with a few goodies thrown in for the rest of the cast and the chorus. In this recording, Callas's voice is not technically great, though it is usually good.She makes most of her points by other means: close attention to the value of words, subtle nuances of tone and phrasing, an uncompromising determination to confront the emotions in the text and convey them honestly and strongly, even when they reach a terrifying intensity. We have here, under the absurdities of plot, a compelling psychological portrait of a woman driven beyond her limits--a woman whose brother wants to kill her lover, who has killed her father. The supporting cast is skilled and Serafin shapes a powerful interpretation. -- Joe McLellan

Customer Reviews:

A Classic Set.......2006-11-09

Despite the few cuts and the mono recording this is still one of the most desirable sets of "La Forza del Destino". The main reason is of course Maria Callas's traversal of the role of Leonora. She was still in pretty good voice at this stage in her career and, though there are moments more comfortably vocalised by some of her rivals ("la vergine degli angeli" for instance), she is the complete Verdi heroine. No other soprano sets before us so well a character torn between conflicting feelings in the first act - on the one hand, love and filial duty, and on the other, love for Don Alvaro. Her very first utterances have a thrill unmatched on other recordings. Later, in the second scene of Act II, she is absolutely superb. Whenever she is before the microphone, we are aware of the greatness of the score as music drama. Here she is helped immeasurably by Serafin's command of the dramatic impulse of the music, and the magisterial, kindly and protective Padre Guardiano of Nicola Rossi-Lemeni. Others may have sung the role with better technique and more beautiful tone, but few, if any, are more interesting in the role. Of the other principals, Richard Tucker is almost their equal. With a voice so splendid and so suitable for the role, it seems a pity that he occasionally feels the need to make up for the fact that he is not Italian, by breaking the line of his singing with unmusical aspirate and sobs. In all other respects he is ideal. Carlo Tagliabue is a little past his best (he was 56 at the time of the recording), but he sings with authority, if without great immagination. Elena Nicolai is, if not the best or most accurate of Peziosillas, at least a spirited and involved performer. Both Plinio Clabassi as Il Marchese di Calatrava and Renato Capecchi as Melitone give strong accounts of their roles.
I have never quite been able to understand why in some of EMI's Callas recordings from this time the mono sound is pretty open and in others quite constricted. This, like the De Sabata "Tosca" is really pretty good. I hardly missed stero at all. And Serafin is superb. He is still, to my mind, a severely underrated conductor. Seen as a singer's conductor, he is somehow thought of as being a little anonymous, but for me, he allows the music and the drama to unfold in a completely natural way, without drawing too much attention to himself, as so many modern conductors tend to do. His "Otello", after all, is considered one of the best conducted versions in the catalogue.
As the previous reviewer noted, this is probably the most expensive way of acquiring this set, but it does come with full notes, libretto and translation. If they are not important to you, you may wish to wait until it is issued at super bargain price, as it inevitably will be, by Naxos, Regis and EMI themselves.

Callas is okay- Price the ONLY VERDI SOPRANO????.......2006-09-06

Callas, not my favorite, could sing Verdi well so could Leontyne Price. Any statements suggesting that these were the only Verdi sopranos - Opera Lover's refusal to acknowledge anyone but Price suggests either very limited listening experience- what about Ponselle, or Milanov or poor hearing.
In this role Tebaldi is as good as I ever heard although she did not sing as much Verdi as the above mentioned divas. CAVEAT!!!! Unfortunately, I did not hear Ponselle either live or in the whole opera or all bets might be off with Tebaldi. Ponselle was a unique vocal and dramatic presence.

An excellent "Forza" but not the best all round performance.......2006-08-24

I'm saddened by the intemperate nature of some of the preceding reviews of this recording, so let's try to keep it objective and fair. First, no-one inflects the text and caresses those glorious melodies as affectingly as Callas although Price in 1964 and Tebaldi in the (pretty raw!) live Mitropoulos recording run her close. The infamous "flap" in Callas' voice is only occasionally in evidence and she more than compensates with heart-wrenching portamenti and thrilling excursions into her lower register. Tucker is very, very good, if occasionally guilty of his besetting fault of being too lachrimose, but the top rings out magnificently. The rest of the cast, with the exception of Capecchi's firm, characterful Melitone, is not up to their standard, though Nicolai is wholly acceptable in the essentially irritating role of Preziosilla, with her silly tub-thumping music. Tagliabue is clearly past his best but does not disgrace himself, despite some rather nasal, laboured sounds. My one real bugbear is Rossi-Lemeni; I have never understood why he was so esteemed. The voice is woolly, unsteady, lacking centre and without the true bass gravitas the role of Padre Guardiano requires - although he certainly sounds old! Serafin's conducting is typically well-judged, in turn both pacy and intense as this gloomily beautiful music demands and you soon forget that the recording is mono, the sound being so clear, clean and brilliant. My favourite "Forza" is still the 1964 Schippers for the all-round excellence of the cast, though the 1947 Marinuzzi (available cheaply on Naxos) is worth having as it's a real period recording with a pulsating sense of live theatre about it (and you can hear Tancredi Pasero sing the role of Padre Guardiano as it should be sung). The above-mentioned live Mitropoulos contains the single most exciting piece of tenor singing I have ever heard in Del Monaco's "O tu che in seno" - the audience go wild and start mooing their appreciation like demented cattle - so you have quite a choice, the Schippers being the safest.

Brilliant Forza and a stupid reviewer.......2004-11-22

What does such drivel give you? Do you have to bash a devoted artist in order to have a life? What a shame this is! This Sills-sycophant accuses Callas' fans of bashing while HE is the one who posts profane, unmusical and tasteless nonsense. I've worked with singers and conductors for over 50 years and am appalled by such awful manners and stupidity. This is a great La Forza del Destino. Even IF one were not to "get" Callas, how [...] he rate the work of a Tullio Serafin who experienced Verdi himself in such a horrenduous way? Go, listen to your Sills and leave the reviewing to those who have taste and musical knowledge!

Brilliant - But I also love Tebaldi.......2004-10-18

The Callas-Forza is brilliant. Wonderful. But Callas was neither a mezzo (Well, with an F in her throat?) nor was her voice ugly IMHO but had a very unique beauty to it, very bittersweet, not all whipped cream like Tebaldi or today Fleming. But hey, I love many flavours. That's why I can heartily recommend both sopranos' Leonoras here.

Average customer rating: Greatest Norma at greatest price!

Bellini: Norma (complete opera) with Maria Callas, Tullio Serafin, Chorus & Orchestra of La Scala, Milan Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Similar Items: Donizetti: Lucia di Lammermoor (complete opera) with Maria Callas, Tito Gobbi, Giuseppe di Stefano, Tullio Serafin Bellini: I Puritani Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan Puccini: Tosca (1953) with Callas, di Stefano, Gobbi, cond. by de Sabata Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan ASIN: B0007Z0Y7W Release Date: 2005-06-07

Tracks:

1. Sinfonia
2. Introduzione (Andante Grave) ... Ite Sul Colle, O Druidi
3. Dell'aura Tau Profetica
4. Svanir Le Voci!
5. Meco All'altar Di Venere
6. Odi? I Suoi Riti A Compiere
7. Me Protegge, Me Difende
8. Allegro Assai ... Norma Viene
9. Sediziose Voci
10. Casta Diva
11. Fine Al Rito, E Il Sacro Bosco
12. Ah! Bello A Me Ritorna
13. Andante ... Sgombra E La Sacra Selva
14. Deh! Proteggimi, O Dio!
15. Eccola - Va, Mi Lascia
16. Va, Crudele
17. Vieni In Roma

Tracks:

1. Allegro Agitato ... Vanne, E Li Cela Entrambi
2. Adalgisa! ... Alma, Costanza
3. Oh, Rimembranza!
4. Ah Si, Fa' Core, Abbracciami
5. Ma Di: L'amato Giovane
6. Oh, Di Qual Sei Tu Vittima
7. Prefido! ... Or Basti!
8. Vanne, Si, Mi Lascia, Indegno

Tracks:

1. Introduzione (Allegro Assai Moderato)
2. Dormono Entrambi!
3. Ola! Clotilde!
4. Mi Chiami, O Norma?
5. Deh! Con Te, Con Te Li Prendi
6. Mira, O Norma
7. Cedi, Deh Cedi!
8. Si, Fino All'ore Estreme
9. Allegro Maestoso ... Non Parti?
10. Guerrieri! A Voi Venirne
11. Ah! Del Tebro Al Giogo Indegno
12. Andante Maestoso ... Ei Tornera! Si!
13. Squilla Il Bronzo Del Dio!
14. Guerra! Guerra!
15. Ne Compi Il Rito, O Norma?
16. In Mia Man Alfin Tu Sei
17. Ah, Crudele! In Sen Del Padre
18. Dammi Quel Ferro!
19. Qual Cor Tradisti
20. Norma! Deh Norma! Scolpati!
21. Deh! Non Volerli Vittime

Customer Reviews:

Greatest Norma at greatest price!.......2005-07-04

EMI has again favored us Callas fans with one of her greatest recordings at budget price. When first released in the CD format, this 3-disc 1954 landmark NORMA was sold at full price. In a second phase release EMI placed it in it's Recordings of the Century series, bringing the price down, but still retaining the notes and libretto. Now the third phase release is an irresistable price drop, now minus the libretto. If you love opera in general, or you love Bellini, or you love to hear the 30-year-old, newly dieted Callas at her utmost peak, you must have this NORMA.
Like other reviewers, I, too, wondered why EMI didn't put more of a dream cast together with La Divina , such as Corelli or del Monaco as Pollione, and Barbieri or Simionato as Adalgisa. Yet, Callas' assembled collegues meet the demands of their roles more than adequately.
The Adalgisa of Stignani shows her amazing capabilities, even at the end of a three-decade career. Her voice may have that mature, matronly sound, but her insight into her role matches Callas at every turn.
Tenor Mario Filippeschi is a very satisfying choice for the role of Pollione. He was already a seasoned veteran of the opera stage, and had collaborated with Callas on other productions such as a 1950 NORMA in Mexico as well as Rossini's ARMIDA the following year in Florence. It is refreshing to hear this tenor able and unafraid to deliver the role with such panache, clarion high notes and all.
The bass role of Oroveso is ably covered by Nicola Rossi-Lemini, another frequest partner with Callas as well as other recording artists of her era. His distinguished career includes the lead bass in such operas as ANNA BOLENA, I PURITANI, IL TURCO IN ITALIA, IL BARBIERE DI SIVIGLIA, LA FORZA DEL DESTINO, DON CARLO, and THE SICILIAN VESPERS.
I would be repeating so many other reviewers if I were to go into describing how great Maria Callas is in the role of NORMA. Some people avoid Callas altogether, saying that her voice is not pleasing to their ear. You can pull up other reviewers comments about NORMA to read, and there is plenty to read.

Average customer rating: Poignant Norma Callas scores and soars in this legendary Norma! Legendary Norma

Bellini: Norma Manufacturer: Opera D'oro ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Il Corsaro ASIN: B0000DEQXC Release Date: 2003-11-04

Tracks:

1. Overture
2. Ite Sul Colle, O Druidi
3. Svanir Le Voci!
4. Norma Viene
5. Sediziose Voci
6. Casta Diva
7. Sgombra E La Sacra Selva
8. Va, Crudele
9. Vanne, E Li Cela Entrambi
10. Adalgisa!...(Alma, Constanza)

Tracks:

1. Ma Di': L'Amato Giovane
2. Vanne, Si, Mi Lascia, Indegno
3. Dormono Entrambi
4. Mi Chiami, O Norma?
5. Mira, O Norma...Si, Fino All'ore Estreme
6. Non Parti?...Finora E Al Campo
7. Ei Tornera! Si!
8. Ne Compi Il Rito, O Norma?
9. In Mia Man Alfin Tu Sei
10. Dammi Quel Ferro!
11. Qual Cor Tradisti
12. Deh! Non Volerli Vittime

Customer Reviews:

Poignant Norma.......2007-06-14

This concert version of Norma for the Italian Radio fell on the heels of Maria Callas's busiest season at La Scala, 1954-55. She sings with great abandon, and her voice is fresh and vibrant. The interpretation is phenomenol. This is her last documented recording where we hear the true darkness and fullness of her tones. Some of her chest tones are similar in sound to her 1952 recording of La Gioconda. She is using the lower larynx position which gives her voice a dark sound. Dropping the jaw and keeping the mouth in an oval position from the low notes to the high ones will reflect a rich and full tone. Although she continued to employ chest tones for the remainder of her career, the voice itself was not as opulent. Many opera buffs thought it was due to her weight loss. They claim that Callas's voice was fat during her early years, and after the weight loss the voice was less full. In this performance her lower and middle range have the same richness and fullness as in 1952 and '53. She altered her method of technique by placing her voice in a higher position and lightening it especially for Lucia and Amina. See my review of Callas's Lyric-Coloratura Aria's. I will always maintain that Callas's voice would have lasted longer if she stayed in the heavier dramatic roles.

Mario Del Monaco as Pollione has clarion power and depth. Ebe Stignani as Adalgisa sings with great passion even though the voice is no longer pristine. Giuseppe Modesti as Oroveso has an authoritative and ominous tone. Tullio Serafin at the helm realizes the true style of Bel Canto. This version of Norma belongs in your collection.

Callas scores and soars in this legendary Norma!.......2005-10-11

For a legendary recording I am amazed that there is only one review of this recording. Where are all the Callas lovers who are forever bashing other singers who have recorded roles that they shared with the Callas canon? This is worthy of every accolade that has been lavished on this performance since it was first released. Certainly an electrifying evening in the theater! For a 1955 performance the sound is very good. Fortunately Opera d'Oro has recorded the performance with much more success than some other labels who have attempted to re-release this on Cd. This comment is based on a review in Fanfare of this performance on previous recordings where there was a very serious problem with pitch. No such problem here: Callas is without peer in interpretation and drama. Her notes are full, rich and beautiful in tone but it is easy to see that performances like this Norma, her legendary Tosca on EMI and the Karajan-Berlin Lucia greatly shortened her vocal life. But we are the winners. Del Monaco is excellent if not too subtle, but such glorious sound. Stignani is a little inconsistent but certainly exciting and often enough rich in tone. Modesti is not a name I am familiar with. He sings his role well but careers are hardly made on this role. Serafin again confirms his legendary status as a great conductor who was always demanding but also professionally considerate of those he worked with. According to what one reads he played a very important role in Callas' career. This should be on your shelf and in your CD player.

Legendary Norma.......2004-05-18

If I were asked to list my top three Normas (Norma being my favourite opera) this would rank third after the La Scala Norma 1955 (Callas, del Monaco, Simionato) and Callas' Covent Garden debut as Norma in 1952. (Made available by EMI) This Norma, which was done in concert, marks Callas' most supreme heights and combination of vocal splendour with mature interpretation. This is a more dramatic Norma than the feminine, touching Norma at La Scala a few months later. Nevertheless, she sings beautifully and brilliantly. Especially the coloratura of Norma's "Casta Diva" is of amazing brilliance and splendour. Another highlight would be her "Dormono entrambe", a moment she like no other Norma illuminated, filled with motherly affection and love as well with haunting drama. The final scene is just sublime, to know why she is the best Norma forever just listen to her extraordinarly beautiful "Qual cor tradisti, qual cor perdesti".
Del Monaco is in top form as Pollione, much better than for example second rate Alexander. Ebe Stignani, then at the very end of her fabulous career as a dramatic mezzo (She was the greatest Eboli and a fantastic Laura, Azucena and Amneris) sings Adalgisa beautifully, even though she sounds a little mature, especially when compared to Callas' silvery sound. Serafin conducts with the mastery we know and love, the sound-quality is absolutely amazing. A Norma well worth buying!

Average customer rating:

Beniamino Gigli: A Life in Words and Music Manufacturer: Naxos ProductGroup: Music Binding: Audio CD General | Boito, Arrigo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Flotow | Flotow, Friedrich von | ( F ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music Lalo, Edouard | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Meyerbeer | Meyerbeer, Giacomo | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Ponchielli | Ponchielli, Amilcare | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Sullivan | Sullivan, Arthur | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Requiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Gigli, Beniamino | ( G ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Boito, Arrigo | A to B | Featured Composers, A-Z | Opera & Vocal | Styles | Music Catalani, Alfredo | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Donizetti, Gaetano | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Giordano, Umberto | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Gounod, Charles | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Cottrau, Teodoro | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Flotow, Friedrich von | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Curtis, Ernesto de | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Mascagni, Pietro | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Massenet, Jules | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Meyerbeer, Giacomo | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Ponchielli, Amilcare | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Puccini, Giacomo | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Lalo, Edward | H to L | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Soundtracks | Styles | Music General | Instructional | Miscellaneous | Styles | Music ASIN: B0001N9ZES Release Date: 2004-05-18

Tracks:

1. 'I Was Born With A Voice And Very Little Else...'
2. Family Background
3. Gigli's Stage Debut And Poverty-Stricken Start
4. Puccini: 'O Soave Fanciulla' From La Boheme - Maria Zamboni
5. Service In The Household Of Countess Spannocchi
6. Donizetti: 'Spirto Gentil' From La Favoria
7. Colonel Delfino, And Giovanno Zerri's Legal Agreement
8. Cannio: O Surdato 'Nnammurato
9. A Hospital Visit And Scholarship
10. Mascabni: 'Ah! Ritrovarla Nella Sua Capanna' From Lodoletta
11. Gigli Graduates And Makes His Debut; He Goes For The High B Flat
12. Puccini: 'E Lucevan Le Stelle' From Tosca
13. Marriage, Rome And A Tuor To Spain
14. Mascagni: 'Apri La Tua Finestra! From Iris
15. A Letter From Fred Gaisberg Of HMV
16. Mascagni: 'Mamma, Quel Vino E Generoso' From Cavalleria Rusticana
17. Gigli Conquers South America, And Recieves An Offer From The Met
18. Metropolitan Opera Debut In Mefistofele
19. BoitoL 'Giunto Sul Passo Estremo' From Mefistofele

Tracks:

1. The Critics' Verdict, And More Performances
2. Donizetti: 'Tombe Degl'avi Miei' From Lacuia Di Lammermoor
3. Gigli's Fate Becomes Entwined With Caruso's
4. Giordano: 'Un Di All'azzurri Spazio' From Andrea Chenier
5. Who Will Be Caruso's Sucessor
6. Verdi: 'De'miei Bollenti Spiriti' From La Travita
7. Life Forms A Regular Pattern, And Gigli Learns To Sing In Foreign Languages
8. Lalo: 'Vainement, Ma Bien Aimee' From Le Roi d'Ys
9. Manon At The Met
10. Massenet: 'O Dolce Incanto' From Manon
11. Catalani's Loreley
12. Catalani: 'Nel Verde Maggio' From Loreley
13. Summer In Italy, Then Back To New York And Some Physical Training
14. Gounod: 'Ah! Ne Furis Pas Encore!' From Romeo Et Juliette
15. Honorary Captain Of The NYPD
16. Meyerbeer: 'O Paradiso' From L'Africaine
17. Flourishing Finances And Professional Rivalries
18. Crushin Remarks; The Attraction Of Radio
19. Sullivan: The Lost Chord
20. A New Decade, And The Honour Of Playing Nemorino At The Met
21. Donizetti: 'Quanto E Bella' From L'elisir D'amore

Tracks:

1. Debuts In Paris And London, And London's Critical Reception
2. Flotow: 'M'Appari' (Ach! So Fromm) From Marta (Martha)
3. Crisis: The Death Of Gigli's Mother, And Tension At The Met
4. Departure From The Met
5. America's Loss Is Europe's Gain
6. Speech: Gigli In An Interview At The Savoy Hotel, London
7. Cherished London Reviews
8. Leoncavallo: 'No. Pagliaccio Non Son!' From Pagliacci
9. Recording Reflects The Drama
10. Leoncavallo: 'Suvvia, Cosi Terrible' From Pagliacci
11. Touring, Gigli's Working Relationships, And A New Turn Of Events
12. De Curtis: Non Ti Scordar Di Me
13. Film Popularity, Hitler And Goebbels, And The Caracalla Tradition
14. Puccini: 'Che Gelida Manina' From La Boheme
15. Voice Expert John Steane's Recommendation
16. Puccini: 'O Soave Fanciulla' From La Boheme
17. A New Recording Of Tosca
18. Puccini: 'Recondita Armonia' From Tosca
19. Patience And Hard Work Produce A Perfect Set Of Master Recordings
20. Puccini: 'E Lucevan Le Stelle' From Tosca
21. Verdi: 'Ingemisco' From The Requiem
22. Verdi: 'Ingemisco' From The Requiem
23. The Recording Of Madama Butterfly
24. Puccini: Closing Moments Of Act I, Madama Butterfly

Tracks:

1. War Keeps Gigli In Italy
2. Introductory Speech To Cavalleria Rusticana By Mascagni
3. Translation Of The Speech
4. Mascani: 'Mamma, Quel Vino E Generoso' From Cavalleria Rusticana
5. More Role Debuts, Gigli's Wartime Films, And Andrea Chenier
6. Giordano: 'Un Di All'azzurro Spazio' From Andrea Chenier
7. John Steane's Verdict
8. Giordano: 'Come Un Bel Di Di Maggio' From Andrea Chenier
9. Rome Opera House Ralies Wartime Spirits
10. Verdi: 'Teco Is Sto - Gran Dio' From Un Ballo In Maschera
11. Verdi: 'Non Sai Tu Che Se L'anima Mia' From Un Ballo In Maschera
12. Verdi: 'Oh, Qual Soave Brivido' From Un Ballo In Maschera
13. Gigli's Political Affliations
14. Verdi: 'Celeste Aida' From Aida
15. Postwar Italy: An HMV Manager's Report
16. Verdi: 'Pur Ti Riveggo, Mia Dolce Aida' From Aida
17. Covent Garden With Rina, Then A Tour Of Britain And Ireland
18. Speech Given By Gigli After A Concert At The Royal Albert Hall
19. The Final Phase - And No Thoughts Of Retirement
20. Di Veroli: Ritorna Amore
21. A Last Visit To The USA
22. Cottrau: Santa Lucia
23. Gigli's Death, His Obituaries, And His Place In The Tenor Lineage
24. Meyerbeer: 'O Paradiso' From L'Africaine

Average customer rating:

1936-1939 Rina Ketty Manufacturer: Straight Off Da Chai ProductGroup: Music Binding: Audio CD General | Classical | Styles | Music ASIN: B000003DF2 Release Date: 1995-06-20

Average customer rating: A great Medea

Cherubini: Medea Manufacturer: Gala ProductGroup: Music Binding: Audio CD Cherubini, Luigi | ( C ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Gencer, Leyla | ( G ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Cherubini, Luigi | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances French | Languages | Opera & Vocal | Styles | Music Similar Items: Meyerbeer: Semiramide ASIN: B00005Q6K6 Release Date: 2001-09-25

Tracks:

1. Sinf - Orch Del Teatro La Fenice/Carlo Franci
2. Atto Prima: Che? Quando Gia Corona Amor - Rina Pallini/Annalis Bazzani/Chor Del Teatro La Fenice/Daniella Mazzucato
3. Atto Prima: O Amore, Vieni A Me! - Daniella Mazzucato
4. Atto Prima: No, Non Temer - Ruggero Raimondi/Daniella Mazzucato/Aldo Bottion
5. Atto Prima: O Bella Glauce - Chor Del Teatro La Fenice/Daniella Mazzucato
6. Atto Prima: Colco! Pensier Fatal! - Daniella Mazzucato/Aldo Bottion/Ruggero Raimondi
7. Atto Prima: Or Che Piu Non Vedro - Aldo Bottion
8. Atto Prima: Ah, Gia Troppo Turbo - Ruggero Raimondi
9. Atto Prima: Pronube Dive - Ruggero Raimondi/Chor Del Teatro La Fenice/Daniella Mazzucato/Aldo Bottion
10. Atto Prima: Signor! Ferma Una Donna - Alessandro Maddalena/Ruggero Raimondi/Leyla Gencer/Aldo Bottion/Daniella Mazzucato...
11. Atto Prima: Qui Tremar Devi Tu - Ruggero Raimondi/Daniella Mazzucato/Coro Del Teatro La Fenice
12. Atto Prima: Taci, Giasone - Leyla Gencer/Aldo Bottion
13. Atto Prima: Dei Tuoi Figli La Madre - Leyla Gencer
14. Atto Prima: Son Vane Qui Minacce - Aldo Bottion
15. Atto Secondo: Intro - Orch Del Teatro La Fenice/Carlo Franci
16. Atto Secondo: Soffrir Non Posso - Leyla Gencer/Giovanna Fioroni/Ruggero Raimondi
17. Atto Secondo: Date Almen Per Pieta - Leyla Gencer/Ruggero Raimondi/Giovanna Fioroni/Coro Del Teatro La Fenice
18. Atto Secondo: Medea, O Medea! - Giovanna Fioroni
19. Atto Secondo: Solo Un Pianto Con Te Versare - Giovanna Fioroni

Tracks:

1. Atto Secondo: Creonte A Me Solo Un Giorno Da? - Leyla Gencer/Giovanna Fioroni/Aldo Bottion
2. Atto Secondo: Figli Miei, Miei Tesor - Leyla Gencer/Aldo Bottion
3. Atto Secondo: Hai Dato Pronto Ascolto - Leyla Gencer/Giovanna Fioroni
4. Atto Secondo: Ah! Tristi Canto!...Dio Dell'Amor! - Leyla Gencer/Chor Del Teatro La Fenice/Ruggero Raimondi/Daniella Mazzucato/Aldo Bottion
5. Atto Terzo: Intro - Orch Del Teatro La Fenice/Carlo Franci
6. Atto Terzo: Numi, Venite A Me - Leyla Gencer/Giovanna Fioroni
7. Atto Terzo: Del Fiero Duol Che Il Cor Mi Frange - Leyla Gencer
8. Atto Terzo: Neris, Che Hai Fatto - Leyla Gencer/Giovanna Fioroni
9. Atto Terzo: E Che? Io Son Medea! - Leyla Gencer/Coro Del Teatro La Fenice/Aldo Bottion/Giovanna Fioroni
10. Atto Secondo: Solo Un Pianto Con Te Versare - Margarita Lilowa
11. Atto Secondo: Creonte A Me Solo Un Giorno Da? - Leonie Rysanek/Margarita Lilowa/Bruno Prevedi
12. Atto Secondo: Figli Miei Tesor - Leonie Rysanek/Bruno Prevedi
13. Atto Secondo: Hai Dato Pronto Ascolto - Leonie Rysanek/Margarita Lilowa
14. Atto Secondo: Ah! Tristi Canto!...Dio Dell'Amor! - Leonie Rysanek/Chor Der Weiner Staatsoper/Nicolai Ghiuselev/Lucia Popp/Bruno Prevedi

Customer Reviews:

A great Medea.......2006-01-29

This is a great performance of this wonderful opera. Leyla Gencer, the legendary Turkish soprano, was in great voice for this performance from La Fenice in 1968. Her performance was not merely a copy of Callas' great interpretations. Gencer's individualistic timbre, bountiful glottal attacks, ravishing pianissimi and dramatic commitment to this fiendish role produced a Medea that is vivid and hair-raising.

For those not familiar with La Gencer, her vocal production may seem idiosyncratic at times, especially her habit of flattening out the notes during intense situations and the jarring register shifts that she used to great effect. The entirety of Act 3, beginning with "Numi venite a me" rivaled Callas' performances. Her singing here was full of rage, and La Gencer gave herself completely to the moment, producing beautifully intense and almost reckless vocalism. Her cries of "Atre furie" conveyed a woman on the breaking point, and her final "Cola t'aspetta l'ombra mia" left one with chills up and down the spine.

Finally, the cd also contained excerpts of Leonie Rysanek singing act 2 of Medea from Vienna in 1972. As usual, Rysanek sounded fabulous, and this is a wonderful bonus to have.

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4. Sin Miedo
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7. That Feeling Again
8. The Passion of Argentina
9. The Remixes
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