Vincenzo Bellini Richard Bonynge Joan Sutherland - Bellini Norma Sutherland Caball Pavarotti Ramey WNO Bonynge (43 tracks) +Album Reviews +Used CD available for Swap

A sad recording

09/19/1999

(2 out of 5 stars)

"Joan Sutherland was about 60 at the time of this recording. What you hear is a barely recognizable Sutherland sound. The Decca cd set with Sutherland/Horne is the one to get, believe me. Sutherland and Horne were dropped dead gorgeous in their 1960's definitive Norma. If you choose to buy this set because Caballe is Adagisa, be warned that the two divas sound very boring and tired. All of Sutheland's famous high notes are completely gone, even her trill and colortura runs are inaccurate. Please, I'm Sutherland's biggest fan, that's why I'm telling you how it really is. This Norma is a disaster. Remember though, the Sutherland's earlier Norma with Marilyn Horne is a real gem."

The most gratifying recording of Norma

Niya | USA | 12/02/2004

(5 out of 5 stars)

"This is the recording to get if you want to listen to BELLINI's Norma (instead of Callas', for example). Why? There are many reasons:

1. The recorded sound of this set is the best of all available Norma's (better than the Sutherland/Horne and all Callas versions).

2. The conducting is the most satisfying of all (Serafin is fine but does not have the flow and buoyancy of Bonynge). Bonynge can be very disappointing at times, but in this recording he's perfect (listen to the beautiful Overture). He also does a much better job here than in the Sutherland/Horne recording.

3. We have the best sounding Pollione in Pavarotti. Frankly, it is a joy to listen to his glorious voice. He also sings more stylishly than any other Pollione (more so than Corelli, for example). Beautiful coloratura and glorious high notes. Gorgeous voice. Intelligent, passionate, and stylish interpretation.

4. We have the most pleasant sounding Adalgisa in Caballe. She's truly a GREAT singer. Her voice is just beautiful and lovely. It's an intense pleasure listening to her great artistry in this music. She's much more gratifying than, say, Stignani or Ludwig, and even more beautiful than Horne. Horne is wonderful, of course, but Caballe's beautiful soprano voice is, to me at least, even more attractive. One might also find Caballe more sensitive as a musician than Horne. She has the femininity, tenderness and vulnerability missing in Horne's interpretation. It's also interesting to remember that Giulia Grisi created the role of Adalgisa, and she was a soprano, not a mezzo. It's wonderful to have a soprano Adalgisa here in the great Caballe.

5. Finally.... Sutherland, Queen of Bel Canto. It's true that she had a "younger" (notice I did not say "more beautiful") voice in her first recording of Norma than in this recording, made in 1984. However, in this recording she still has ALL the high notes here, all the coloratura technique, all the legato, all the beautiful singing required in Norma and Bellini. And yes, a still very beautiful voice! Her interpretation has also matured. Now we have here a very affecting and moving Norma who also has authority plus brilliance of singing! Effortless technique as always. She is the voice of the century, indeed.

For all these reasons, if I can only choose one Norma recording, this would be it. Also recommended are the Sutherland/Horne set as well as the Caballe version.

One must not miss the numorous Callas version, either. Callas is also a great Bel Canto singer. In her prime (the 1960 Norma is NOT), she had great style, great technique, and a beautiful voice. She even had more dramatic presence than Sutherland (though never as gorgeous in tone or elegant in phrasing and technical execution). She's the one that inspired Sutherland and Caballe, after all, and her greatness is not to be missed."

Great recording with Sutherland, Caballe, and Pavarotti!!!!!

BRETT H DAVIS | Boynton Beach, FL United States | 07/28/2001

(5 out of 5 stars)

"I am a huge fan of all of the 3 principals and saw them many times at the San Francisco Opera in the 70's and 80's. Their TURANDOT studio recording together from 1973 is other worldly...and I am also a big fan of a Nilsson, and Price and all of the greats that I have seen or been lucky to be exposed to over the years. This NORMA was recorded in 1984 and they are all in great voice. Remember Caballe went on to sing ISOLDE in 1989! Only Caballe would use pianissimos in the Act II love duet. I have the LP with Sutherland/Horne NORMA from 1964..(from my teen years) it is the most beautiful NORMA ever recorded. However, I especially love the last act of this opera and the final scene with Sutherland and Pavarotti (the dynamic vocal duo) moves me deeply. Sutherland does not sound tired! The only recording of Sutherland'S that really sounds tired and effortful is the Video VHS of the LES HUGENOTS which I believe was her farewell performance from the stage in Australia. It was painful to watch and I have never finished watching it! I saw the great Maria Callas in her farewell tour with Di Stefano and it was sad. I think people who only enjoy one singer in a particular role are limiting themselves and closed minded. Callas, Caballe, Sills, and even Shirley Verrett (who sang it in SF) are all great interpreters of NORMA. Pavarotti is at the peak of his powers and that is why I bought this recording. Buy it and you will not be disappointed!"

Incredibly Moving!

Sarah-Jane Leslie (sjleslie@eden.ru | New Jersey | 12/03/1998

(5 out of 5 stars)

"I am a great Sutherland fan, and have many of her recordings. This one stands out. I have never listened to this recording in its entirety without crying - I can say that about no other CD. Sutherland's voice shows some signs of age, yet is still magnificent. I must disagree with some critics'opinion that she was unable to fully characterize Norma. She portrays the betrayed woman with heart-breaking clarity and understanding. The other performers live up to their reputations. Pavarotti paints Pollione with arrogance and passion - the neceassary combination. The two stars interact most convincingly, both with each other and with Caballe's touching Adalgisa. Bonynge's conducting is similarly excellent.Sutherland's second Norma recording conveys deep pain and anger. I do not find the characterization lacking at all. Norma is Bellini's greatest opera; this recording is undoubtedly worthy of his music. I strongly recommend it!"

SUTHERLAND A MORE AUTHORATIVE NORMA THAN BEFORE

06/11/1999

(4 out of 5 stars)

"I have always been a great admirer of Joan Sutherland. To hear her in operas like "Lucia", "Sonnambula", "Puritani, "Semiramide" or even "Maria Stuarda" was to experience the "real thing". No doubt about it. As a sheer singing machine, Sutherland in her prime had no rivals ---- certainly not even Callas, whose genius was rooted in a different sphere entirely. But Norma requires something more than a voice, no matter how great that particular voice and technique may be. I always felt that Sutherland's vocal personality was not sufficient for Norma. who must project powerful emotions. She is, after all, a feared presence in the story. Of course one can say that in opera it's the singing that matters and that Norma must have voice, voice, and more voice. True, but there must be a vocal personality to suit the character. I found this to be totally missing on Sutherland's 1964 recording, and still feel that the violent emotions or Norma never really came naturally to her, as it certainly did to Callas. Nevertheless, Sutherland had come a long way in the projection of a text in the intervening years between the 1964 recording and the present one. Sutherland actually projects great power and authority here, and for me, her Norma becomes at least plausible from a dramatic standpoint. Her recititives now ring with a strength and power that were completely absent before. The voice is clearly no longer the liquidy and shining instrument it was before, but it remains valid nonetheless. I actually can appreciate the Sutherland more on this recording than I could on the first. And she is to be respected and admired as well. For a soprano to re-record twenty years later the most difficult role in her repertoire, at age 58 yet, and to still make a valid account of it, is to me something very amazing and wonderful. Sutherland has a soprano Adalgisa here, no less than the great Montserrat Caballe, a pretty valid Norma herself. The pairing works well. Caballe's soft grained sound mixing well with Sutherland's more mature and darker sound. The duets between the ladies are certainly rewarding to listen to. Of Pavarotti, what can one say? He sings, period. I like what Bonynge does with the orchestra here better than in 1964 as well. The moves pretty quickly, actually at points creating a taut orchestra atmosphere, all to the good in this opera. Recommendation? If one wants to hear what Sutherland could accomplish vocally with Norma, than I would go for the first version (which also features an awesome Marilyn Horne), also on London. For a more balanced overall production, and a more mature Sutherland, I would consider this one. Still, I would certainly recommend one of the Callas versions. Actually, one should own both Sutherland and Callas, and possibly Caballe's Norma as well."

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