mrzee256 | Long Beach, New York United States | 03/16/2001
(4 out of 5 stars)
"At the outset, one has to say that if you want the mastery of Sutherland, the drama of Callas or the sheer beauty of Caballe, this recording will leave you dissatisfied. But take the time to listen to these singers: there is much here that is very rewarding. Eaglen certainly has sound, the stamina and the temprament to be a credible Norma. There are moments of real beauty in the "Casta Diva," and her intrepretation is never less than interesting. Mei is an excellent partner for Eaglen, and she can act with her voice. The tenor is new to me but I would be interested in hearing him in other roles: he holds his part of the ensemble up well. Muti is considerate of his singers, and keeps the pace up nicely. Without challenging the greats of the previous generation, this Norma is more than acceptable."
Best Buy for Norma
Marilyn L. Miller | Corvallis, OR United States | 07/05/2000
(5 out of 5 stars)
"After attending a performance of "Norma" in Paris, I was looking for a recording of the opera. I found this recording on Amazon's list, at a very inexpensive price. What a surprise to discover such a wonderful live performance at the "Maggio Fiorentino" in 1994. This opera, conducted by Ricardo Muti, featured a very good cast. The sound was clear and crisp, despite it being a monophonic recording. The balance between the singers and orchestra was perfect. There is a synopsis included, but no libretto. This is a super best buy and a wonderful addition to our CD collection. I recommend it highly, especially to opera lovers on a limited budget."
Best Buy!!
Anastasia Beaverhausen | London, UK | 01/09/2001
(5 out of 5 stars)
""Norma" was considered in the past by many sopranos to be the holy of holies of the soprano repertoire. This role requires a dramatic soprano with a demonic flexibility and expression in all the ranges of her voice, coupled with an uncomprimising demand for endless stamina. With the dearth of (dramatic) coloraturas Norma had to wait until a soprano of the calibre of Maria Callas, and now Jane Eaglen, came along who could comply with all the demands of this role. Nonetheless, in this recording Jane Eaglen rescues Norma from the coloraturas like June Anderson, spintos like Montserrat Caballe, lyrics like Carol Vaness and mezzos like Shirley Verrett when this role became a free-for-all in the 70s and 80s. Eaglen with her gigantic voice sounds decidedly at times as if she were singing Wagner - but this happens seldomly. Expect this huge elephant of a voice to deliver at times very crisp and exciting vocalising with fulminating high notes (see "O non tremare" and the "Ei tornera") and some very interesting decorations in repeats (see "Mira, o Norma" and the "Ah bello a me ritorna"). She makes it perfectly clear from her first entrance in the Casta Diva scena that flexibility has nothing to do with the size of a voice, but rather the technical skill, or lack thereof, of the performer. However, for a completely (emotionally and technically) intricate, detailed and heart-breaking account one longs for Callas.Eva Mei, a lyric soprano, is Adalgisa in this recording. She is not the perfect foil to Eaglen's decidedly more ''agitated'' Norma. Mei is tranquil and unwilling to allow her emotions to run their course and unfortunately prefers to remain detached most of the time. Mei's voice is very small (and sharp at times) compared to Eaglen's and their two duets sometimes sounds like a battle between David and Goliath - and here Goliath wins! But Mei does sing with a great deal of precision!The tenor in this recording is average, apart from the very obvious crack on the high C in his only aria, which to his credit he nonetheless sings with some passion. But here one wishes for a voice with the tumpeting vigour and clarity of a Corelli, a del Monaco, or even a Domingo at the very least. Oroveso is sung with a steady wobbly bass, which does not improve as the night goes on. But he is very reliable and very seldom is out of time or tune. All involved in this recording perform with security and much finesse, and another bonus is the fact that Muti restores a lot of previously cut music. This is a feat and they do not sound to have been worn down by the extra burden of all the repeats - thereby making another case for restoring the horrendous cuts imposed on most of these early operas.The sound of this recording is very good, and the conducting very exciting. One cannot but recommend this recording very highly, especially considering that it is a "live" recording makes it even more of a miracle!"
Great Normas On Record: Jane Eaglen
Rudy Avila | Lennox, Ca United States | 08/20/2005
(5 out of 5 stars)
"The current greatest Norma recording. There is also a studio recording with the same cast- Jane Eaglen, Vincenzo La Scola and Eva Mei and that one is outstanding as well. But this live recording from the Florence Festival in Italy benefits from a live performance in which the audience is genuinely caught up in the drama and the powerful performances from the singers. While the last review, the one before mine, was highly critical of Jane Eaglen, I will contradict and prove him wrong. Jane Eaglen has a hell of a time singing Norma, and is perfectly comfortable in the heavy dramatic role. It's perfect for her voice. She is more dramatic in her interpretation because as a long time singer for the English National Opera, she was well aware of English translations to operas. She has a huge, beautiful voice and she makes the role very noble and larger than life. I was blown away. From her solemn entrance: "Sedisioze Voce" to the ethereal strains of "Casta Diva" to the fury of the outcry "O Non Tremare" and the sad final aria, she is Norma without a doubt, even ranking high up there with the greatest Normas of opera- Maria Callas, Leyla Gencer and Montserrat Caballe. She is more in the Caballe fashion than the Callas fashion. She is well-supported by fine artists as mezzo soprano Eva Mei, who has a lyric and sensuous interpretation of Adalgisa (that's how Pellione fell for her, though I'm under the impression that he fell for her youth and sex appeal) Norma is an older woman with more wisdom and experience. Note the very interesting and funny scene in which Adalgisa confronts Norma about Pellione:
Norma: Go to Rome. Take Pellione. Take his children. I..I will kill myself for my transgression.
Adalgisa: I have to take care of his kids ?
Vincenzo La Scola is a fine tenor possessing a lyric and strong quality. Riccardo Muti, in excellent form, conducts a performance that was recorded live from the Florence Festival, Italy. It's a fine recording that anyone who wants to hear great opera should own. And yes, Jane Eaglen is amazing. Look also for her studio Norma, her Tosca (for the English National Opera) her Gotterdammerung, in which she sings Brunhilde, and her albums- Mozart and Strauss arias and Bellini and Wagner arias. She has owned the roles of Dona Ana, Isolde, Brunhilde, Tosca and Norma. And she's modest too and loves to listen to rock before actually singing on stage, so I hear."