Una Norma gloriosa, nessuna ora ed quasi certamente in futuro potrà stare al suo pari ... ha tracciato una linea di demarcazione fra il canto e l'arte del canto...
Musica e parole sono poesia pura e Corelli e Callas un dono del cielo....sì sono dei scesi a deliziarci con questa splendida arte. Voci sublimi!!!!!!!!!
I laugh at the 'thumbs down' lol. How can ANYONE dislike this divine voice that was a GIFT to humanity? We're so fortunate that she came along when the technical capability was available to capture this (I'll say it again because there's no better term) divine voice. Just think how many great voices have been lost 'like tears in rain' because they could not be captured on record. Sarah Bernhardt supposedly had a divine voice - where is it? Who really knows for sure? Thank you Maria for existing and may God rest your beautiful but tortured soul in Heaven.
The thumbs down is very unfair I agree with that. I may however suggest and I am not saying this is good reason for a thumbs down however when this recording was made in 1959-1960 area longtime Callas listeners would suggest her tessituras/high notes had a wobble to them that had developed over the last five years. You may or may not be aware that Maria Callas had recorded an earlier version of Norma in the early mid 50s. Some would suggest she was more vocally confident in that period. When EMI the record label wanted her to record a second Norma for stereo, she INSISTED that Franco Corelli be cast as Pollione.
È semplicemente pura ARTE. Meravigliosa. Quelli a cui non è piaciuta è perché non riescono a comprenderla pienamente, tanto è bella questa performance... Corelli e Callas insieme, due pietre miliari dell'opera lirica... Fanno la perfezione. 💝
Un'incisione fondamentale e monumentale dell'opera, in cui svettano la Callas e Corelli, con una adesione totale ai rispettivi personaggi che lascia inermi i cuori e l'anime all'ascolto. Grandiosi
The greatest Norma ever recorded. For me, there are only two mountain top sopranos, Callas and Ponselle. And only two mountain top tenors, Corelli and Bjorling.
Bjorling became nasal in the 50s, though he was great before. And what about Del Monaco, Rosvaenge, Caruso, Gigli, Di Stefano, Lauri-Volpi, Martinelli? All of them were at least at Bjorling's level. I agree about Callas and Ponselle, but I would certainly include Bruna-Rasa. But, most whole-heartedly agree. This IS the best Norma recorded.
Maria Callas had recorded a Norma in I believe 1953. When Angel Records, now known as EMI wanted Maria to record a stereo Norma, she insisted Franco Corelli be cast as Pollione. As far as your two mountaintop tenors, yes Corelli is there but I too would suggest tenors like Del Monaco, Di Stefano, Bergonzi need to be mentioned among the greats.
Pure art, at it's best, can never be bettered by anyone. Maria, Christa, Corelli and on top of that Mr Serafin. This is so good that it is hard to understand how you can make something sounds so divine.
Eterna Callas. Essa era sua ópera, cantou Norma 91 vezes. Ninguém cantas Norma como ela. Sua voz exclusiva se conhece de olhos fechados distinta entre tantas, brilhava na multidão sem abrir a boca. Atriz excelente, mudou o conceito da ópera onde cantoras gordas ficavam estaqueadas no memo lugar. Brava Maria. Vives em nossos corações eternamente. Quem a viu viu. Quem não viu não verá jamais cantora como ela.
What can you say? SHE is the standard that all others are measured against. Some may have a more beautiful sound (Caballe) and others may be more technically assured (Sutherland), but nobody can make Bellini's music sound more plaintive, complete and dramatic than La Divina. This is coming from a confirmed Tebaldi fan. I'm glad Tebaldi never recorded a complete Norma. She couldn't have done it justice, and she knew it.
Tebaldi didn't DARE to attempt a complete Norma. It would have been totally beyond her capacity both vocally and histrionically. Tullio Serafin once approached her to learn it and to sing it, but she emphatically refused. She was smart enough to know what NOT to sing.
Callas was just unique .... And Tabaldi was also a great artist for the repertoire she sang. Bel Canto/Coloratura was not her thing. I think the whole rivalry thing was purely hyped by the media. They both respected each other professionally, I'm sure!
Thanks so much for this. Great sound. This is such a profound interpretation after years of Callas living in the role and the tragedies of her own life. One of the greatest moments of tragic lyric art.
The very best Norma of all times. La Divina, divina!!!! Gorgeous cast! Thanks you very much for uploading and sharing this wonderful video. Best regards from Santiago,Chile. Ut Benedicat tibi Dominun. Dr. Fernando Rivas-Burattini.
Thanks for the upload and for the interesting commentary from Mr. McCleary and Operlover67. I attended my first Norma this spring at the Kennedy Center with Angela Meade in the prima donna's role, superbly paced and conducted by Daniele Rustioni. I was moved very deeply and cried throughout the final act, in particular through the finale. The live La Scala from 1955 is hard to top. Another great one was Caballe at Toulouse, 1974 - Norma Orange! Grazie, Pietro
un vecchio amico mi raccontò che wagner avrebbe detto che il finale di norma era in assoluto la più bella musica che fosse mai stata composta. non se è vero, certo da wagner sembrerebbe strano ma, se lo ha detto, cosa avrebbe aggiunto ascoltando questa esecuzione e con queste voci? non riesco ad ascoltare questo brano senza emozionarmi fino alle lacrime.
I am Callas' fan, however, this recording is not in her prime. The earlier recording presented the high note that less harsh. But still only Callas can compare to Callas
Wow, such learned commentary, I am in awe. Thank you Mr. McCleary and OperaLover. It seems to me that you can always find something to critique even in a great performance. Sort of like the old Italian guy who tells his wife well you know, that was really excellent but could have used a bit more salt here or the onion could have been a bit more cooked there. This opera and this finale is so magnifico that if this were the only version, ever, it would stand as an example of the finest opera has to offer. Callas herself would compare singers to athletes. Mickey Mantle is the one I grew up with. What as more awesome, his home run in Game 7 of the 1952 World Series, a blast that sailed out of Ebbets Field or his walk-off in Game 3 of the 1964 World Series, a majestic shot that landed in the upper deck at the old Yankee Stadium? Not all that important to try and settle in my view. I know what I enjoy and this recording is very special. Thanks to Phillip Gregory for putting it up!
Although her voice here is far from her prime, it's stunning how she visits new depths in her interpretation, like a pinter with millions of unsuspected colors. Specially from "Deh non voler le vittimi. .." up to "che son tuo sangue" with an outstanding affection in "... inocente etá" This "etá" is moving like someone you love has just died.
Excellent! also check out ”Remeniscences de Norma” by Liszt!! He pretty much interweaves a bunch of themes into a digestive transcription for the piano.
This may be very good, but listen to the live performance from La Scala in 1955. The shaping of the phrases "con me" and "con te" tells the whole story of the opera. There is no recorded performance of Callas that I know of that is deeper. I once played that phrase for John Ardoin who agreed with me. The problem here, as so often in my opinion, is Serafin (pace, dear John Ardoin). Serafin always seems to hold her back--not only rhythmically but also in terms of passion.
@Robert D. McCleary. Let me disagree about your personl opinion about Serafin's work here. He was the best operatic conductor for Italian Operas ever, the outcome here is perfect. What do you need more? The problem is that here Calllas had already lost kilos and the quality of the voice changed dramatically in comparison with the 1951 Norma conducted by Serafin again Filippeschi as Pollione, Nicola Rossi.Lemeni Oroveso, Ebe Stignani as Adalgisa, which I consider the top Norma recording ever,
La Callas al pieno delle sue capacità vocali era la migliore interprete per un'opera dalla orchestrazione modestissima come Norma. Ed è quello il grande limite di Bellini. Un talento innato per la melodia cantabile ma enormi lacune per il resto
This recording is out of this world. Callas at the peak of her emotional expression abilitity, a fantastic cast, perfect sound. Totally unrivaled!
Una Norma gloriosa, nessuna ora ed quasi certamente in futuro potrà stare al suo pari ... ha tracciato una linea di demarcazione fra il canto e l'arte del canto...
Now we know why this was her favourite role, the music is out of this world as is her singing.
Musica e parole sono poesia pura e Corelli e Callas un dono del cielo....sì sono dei scesi a deliziarci con questa splendida arte.
Voci sublimi!!!!!!!!!
quando si sente cantare in questo modo, non riesci più ad ascoltare tutte le altre Norme.
Concordo
I laugh at the 'thumbs down' lol. How can ANYONE dislike this divine voice that was a GIFT to humanity? We're so fortunate that she came along when the technical capability was available to capture this (I'll say it again because there's no better term) divine voice. Just think how many great voices have been lost 'like tears in rain' because they could not be captured on record. Sarah Bernhardt supposedly had a divine voice - where is it? Who really knows for sure? Thank you Maria for existing and may God rest your beautiful but tortured soul in Heaven.
The thumbs down is very unfair I agree with that. I may however suggest and I am not saying this is good reason for a thumbs down however when this recording was made in 1959-1960 area longtime Callas listeners would suggest her tessituras/high notes had a wobble to them that had developed over the last five years. You may or may not be aware that Maria Callas had recorded an earlier version of Norma in the early mid 50s. Some would suggest she was more vocally confident in that period. When EMI the record label wanted her to record a second Norma for stereo, she INSISTED that Franco Corelli be cast as Pollione.
@@frankmaiorana66 Thanks for the comment. Do you know why she wanted Corelli?
Vado controcorrete, voto concordemente per il pollice verso. Non mi piace affatto questa performance
È semplicemente pura ARTE.
Meravigliosa. Quelli a cui non è piaciuta è perché non riescono a comprenderla pienamente, tanto è bella questa performance...
Corelli e Callas insieme, due pietre miliari dell'opera lirica... Fanno la perfezione. 💝
❤❤❤❤❤❤
Un'incisione fondamentale e monumentale dell'opera, in cui svettano la Callas e Corelli, con una adesione totale ai rispettivi personaggi che lascia inermi i cuori e l'anime all'ascolto. Grandiosi
The greatest Norma ever recorded. For me, there are only two mountain top sopranos, Callas and Ponselle. And only two mountain top tenors, Corelli and Bjorling.
Bjorling became nasal in the 50s, though he was great before. And what about Del Monaco, Rosvaenge, Caruso, Gigli, Di Stefano, Lauri-Volpi, Martinelli? All of them were at least at Bjorling's level. I agree about Callas and Ponselle, but I would certainly include Bruna-Rasa. But, most whole-heartedly agree. This IS the best Norma recorded.
Maria Callas had recorded a Norma in I believe 1953. When Angel Records, now known as EMI wanted Maria to record a stereo Norma, she insisted Franco Corelli be cast as Pollione. As far as your two mountaintop tenors, yes Corelli is there but I too would suggest tenors like Del Monaco, Di Stefano, Bergonzi need to be mentioned among the greats.
Pure art, at it's best, can never be bettered by anyone. Maria, Christa, Corelli and on top of that Mr Serafin.
This is so good that it is hard to understand how you can make something sounds so divine.
Eterna Callas. Essa era sua ópera, cantou Norma 91 vezes. Ninguém cantas Norma como ela. Sua voz exclusiva se conhece de olhos fechados distinta entre tantas, brilhava na multidão sem abrir a boca. Atriz excelente, mudou o conceito da ópera onde cantoras gordas ficavam estaqueadas no memo lugar. Brava Maria. Vives em nossos corações eternamente. Quem a viu viu. Quem não viu não verá jamais cantora como ela.
...sublime donna... Callas...!
That final though
Those voices
Now I know I can die peacefully as a acknowledged what art and perfection are
Gives me shivers all the time!
What can you say? SHE is the standard that all others are measured against. Some may have a more beautiful sound (Caballe) and others may be more technically assured (Sutherland), but nobody can make Bellini's music sound more plaintive, complete and dramatic than La Divina. This is coming from a confirmed Tebaldi fan. I'm glad Tebaldi never recorded a complete Norma. She couldn't have done it justice, and she knew it.
+operachad Tebaldi recorded the entire opera, but she did not give authorization to release it. There are copies available.
Tebaldi didn't DARE to attempt a complete Norma. It would have been totally beyond her capacity both vocally and histrionically. Tullio Serafin once approached her to learn it and to sing it, but she emphatically refused. She was smart enough to know what NOT to sing.
I agree complety.
Callas was just unique .... And Tabaldi was also a great artist for the repertoire she sang. Bel Canto/Coloratura was not her thing. I think the whole rivalry thing was purely hyped by the media. They both respected each other professionally, I'm sure!
I remember seeing a clip of Tebadli singing 'O Soave Fanciulla" with Björling. Her voice made me cry!
Magnifique Norma !
Que des grands et belle direction !
Merci beaucoup !
Corelli , Callas , Great singers
The best for me💗
by far my most favorite version of this aria by Callas and Corelli. I have this CD , Just great
I bow my head in deep humility to such talent….a unique presence that is still with us and hopefully is inspiring a new generation of singing actors.
Thanks so much for this. Great sound. This is such a profound interpretation after years of Callas living in the role and the tragedies of her own life. One of the greatest moments of tragic lyric art.
C'est " DIVIN " ! Le ciel sur terre !
The very best Norma of all times.
La Divina, divina!!!!
Gorgeous cast!
Thanks you very much for uploading and sharing this wonderful video.
Best regards from Santiago,Chile.
Ut Benedicat tibi Dominun.
Dr. Fernando Rivas-Burattini.
A Legend Maria Callas as Norma, its the Best
Thanks for the upload and for the interesting commentary from Mr. McCleary and Operlover67. I attended my first Norma this spring at the Kennedy Center with Angela Meade in the prima donna's role, superbly paced and conducted by Daniele Rustioni. I was moved very deeply and cried throughout the final act, in particular through the finale. The live La Scala from 1955 is hard to top. Another great one was Caballe at Toulouse, 1974 - Norma Orange! Grazie, Pietro
un vecchio amico mi raccontò che wagner avrebbe detto che il finale di norma era in assoluto la più bella musica che fosse mai stata composta. non se è vero, certo da wagner sembrerebbe strano ma, se lo ha detto, cosa avrebbe aggiunto ascoltando questa esecuzione e con queste voci? non riesco ad ascoltare questo brano senza emozionarmi fino alle lacrime.
Federico Castaldi, e' vero, disse cosi e quando divento' direttore principale a Dresda volle dirigere per prima la Norma.(documentato)
I am Callas' fan, however, this recording is not in her prime. The earlier recording presented the high note that less harsh. But still only Callas can compare to Callas
Sublime donna.....
Norma, die einzige: "La Callas", La Divina!
Wow, such learned commentary, I am in awe. Thank you Mr. McCleary and OperaLover. It seems to me that you can always find something to critique even in a great performance. Sort of like the old Italian guy who tells his wife well you know, that was really excellent but could have used a bit more salt here or the onion could have been a bit more cooked there. This opera and this finale is so magnifico that if this were the only version, ever, it would stand as an example of the finest opera has to offer. Callas herself would compare singers to athletes. Mickey Mantle is the one I grew up with. What as more awesome, his home run in Game 7 of the 1952 World Series, a blast that sailed out of Ebbets Field or his walk-off in Game 3 of the 1964 World Series, a majestic shot that landed in the upper deck at the old Yankee Stadium? Not all that important to try and settle in my view. I know what I enjoy and this recording is very special. Thanks to Phillip Gregory for putting it up!
Unsurpassed in Norma.
Norma, da brividi...il riferimento!!!
Although her voice here is far from her prime, it's stunning how she visits new depths in her interpretation, like a pinter with millions of unsuspected colors.
Specially from "Deh non voler le vittimi. .." up to "che son tuo sangue" with an outstanding affection in "... inocente etá" This "etá" is moving like someone you love has just died.
Excellent! also check out ”Remeniscences de Norma” by Liszt!! He pretty much interweaves a bunch of themes into a digestive transcription for the piano.
Divina ❤🌹
What a duo!
BELLEZA !!!!!! ÙNICA !!!!!!
DIVINAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA ALWAYS DIVINAAAAAAAAAAAAAAAAAAAAAAAAAAAA
In quest'aria Bellini sale in cattedra!
BELLEZA !!!!!!!!!!!!!!!!!!!!!!!
Ah, quel finale...
Overwhelming performance
This may be very good, but listen to the live performance from La Scala in 1955. The shaping of the phrases "con me" and "con te" tells the whole story of the opera. There is no recorded performance of Callas that I know of that is deeper. I once played that phrase for John Ardoin who agreed with me. The problem here, as so often in my opinion, is Serafin (pace, dear John Ardoin). Serafin always seems to hold her back--not only rhythmically but also in terms of passion.
La Divina per sempre. Bravaaaa.
ai quattro pollici versi: perché ascoltate musica che non siete in grado di comprendere?
super
9:40 🖤🔥
@Robert D. McCleary. Let me disagree about your personl opinion about Serafin's work here. He was the best operatic conductor for Italian Operas ever, the outcome here is perfect. What do you need more? The problem is that here Calllas had already lost kilos and the quality of the voice changed dramatically in comparison with the 1951 Norma conducted by Serafin again Filippeschi as Pollione, Nicola Rossi.Lemeni Oroveso, Ebe Stignani as Adalgisa, which I consider the top Norma recording ever,
Gravació de quin any?
.norma é calas e. Final festa se a questão
norma é calas fecha-se a questão
What is the date ?
La Callas al pieno delle sue capacità vocali era la migliore interprete per un'opera dalla orchestrazione modestissima come Norma. Ed è quello il grande limite di Bellini. Un talento innato per la melodia cantabile ma enormi lacune per il resto