Search - Vincenzo Bellini, Richard Bonynge, San Francisco Opera :: Bellini - Norma / Sutherland, Tourangeau, Bonynge

SUTHERLAND'S BEST "NORMA"

06/24/1999

(5 out of 5 stars)

"This live performance "Norma" originates from the 1972 San Francisco opera season. The sound is perfectly acceptable and price is incredibly reasonable. In 1972 Sutherland's voice was in its most brilliant estate, and she could do anything she wanted with it, which is a whole lot. She is more sensitive and dramatically keen here than she was on her 1964 studio recording, and in infinitely better vocal condition than she was to be in 1984 when she did her second studio recording. She sings "Casta Diva" here in the original key of G, which enables her to climax the cavatina on the high C. She accomplishes this brilliantly. Moreover, she has an extremely accomplished Adalgisa in Huguette Tourangeau, whose voice contrasts beautfully with Sutherlands's. John Alexander is an excellent Pollione. It is Richard Bonynge whose work I appreciate here as well. I find his conducting superior to either of his studio recordings, and I find his stress of the harp in the soft section of the Overture and moon music after the call to battle to be close to perfection as is possible to achieve in this music. A very fine "Norma", with a Sutherland in prime condition. What could be better?"

Best Norma

09/23/1999

(5 out of 5 stars)

"Norma is an opera that demands great breath control, a flawless coloratura technique, and a secure high soprano of remarkable beauty. Only one diva comes to mind, and it is the great Joan Sutherland. Absolutely no one can touch her here, and I dare anyone to prove that anyone has approached dame Joan's stupendous prowness here. I have the Sutherland/Horne set, and this one also, believe it or not, I like this one better, and why not?"

La Stupenda using her chest tone

11/25/2001

(5 out of 5 stars)

"Yes, Joan Sutherland actually used some of her chest tone here. But the most exciting thing about this superset is Sutherland's coloratura and lucious voice. She is in total command here. The arias are sung with lots of emotions - an effect that she did not use in either of her studio recordings. My only complain is that the rest of the cast does not even approach her vocalism levels. But then, who else, but Horne and Pavorotti can approach these astronomical heights of glory?"