Search - Vincenzo Bellini, Richard Bonynge, Colon Theater Orchestra (Buenos Aires) :: Bellini: Norma

Excellent

BDSinC | Calgary, Alberta, Canada | 08/09/2005

(5 out of 5 stars)

"Sutherland is truly involved and actually does give us a character worthy of what Callas does with Norma. Cossotto is wonderful as Adalgisa. Craig is a super Polione and one is left wondering why we have never heard much of this fine singer. He has the ability to actually make something of the part, which was in the view of many older composers (Wagner) just a tenor part. We get the Sutherland high notes we expect, but we get so much more from her. She has intensity that we never find on her studio recordings. She has diction we can understand. She has personality and she develops a character. Her method of singing is more out there, less introspective, compared to her recordings. Her protrayal is very immediate.



What really struck me more in this live recording was not so much the singers (who we would expect would be excellent) but the interpretation conducted by Bonynge. His conducting gives us a reading of the score much more emotionally involved than we get in either of his studio recordings. There is great intensity, especially during the "guerra, Guerra" chorus, which often sounds too "sweet" in his studio recordings lacking the necessary (and asked for) ferosity they require. His choice of tempi are much more involving, less "pretty" and more intensely moving. Yet, in spite of all his involvement giving us a truly moving score (or maybe because of it) we are never robbed of a good Bellini line; long lush melodies pour forth, as they should, well shaped and lyric. In his studio recordings he gives us the long melodies but seems to lack the energy and the drive for the dramatic. Somehow, in this live performance he balanced the two perfectly; we are given a very dramatic reading full of life and furry where necessary, but dripping with lyric tenderness. His conducting actually inspired Joan Sutherland to sing in a more involved way than she does in her studio recordings. Now, I know that her voice was one that was EXTREMELY HARD to record, being such a big and ringing voice. She was often required to sing in a rather "droopy" way so the microphones could capture her sound without destroying it. Perhaps her husband felt compelled to match her sound in his orchestra to maintain balance. Obviously in live performance, such restraints are not a worry, and we get something to treasure. I have tons of recordings of NORMA, and well, with many different artists, and quite a few with Sutherland and Callas. Even with all I have, I would say it is not a waste to add this recording to one's collection. It offers Sutherland in a way we will never get on any of her studio versions of this opera. And what is so thrilling is to hear her energy, her excitement at singing (the act of singing obviously inspires her), and her willingness to give so much to a performance (which she was noted for). She is equalled by her fellow singers. They put out just as much as she, they are taken away with the music and they too make their characters live. Bonynge never lets up in the energy level of the orchestra, and it flows forward always bringing us to the next climax. Truly a well thoughtout and executed performance."

Five Star Cast--Five Star Singing

Mr. Robert E. Brittain | Denver, CO | 07/07/2005

(5 out of 5 stars)

"Norma with Sutherland at her height; the youthful and powerful singing of Cossotto as Adalgisa; Charles Craig as a heroic and ringing Pollione. Truly amazing singing in the duets and ensemble pieces--my favorite is always the Act I finale and here it is sung in full glory, with Sutherland capping it off with one of her signature unearthly high notes. Get this and add to your other Norma recordings, you won't be disappointed!"

Great performance, but...

J. Martin | Pensacola, FL | 04/14/2006

(4 out of 5 stars)

"This performance dating from 1969 in Buenos Aires has some very great moments. Sutherland is in superb voice and sings one of the best Normas I have ever heard from her. Cossotto is very fine but as usual pushes her moderate-sized voice to its limits. Ivo Vinco and Charles Craig both sing their music admirably. The sound is quite good, especially for opera D'Oro which seems to specialize in ruining good recordings. Now the problem, the whole performance is running fast, enough to raise the musical pitch a full half step which makes Cossotto sound thinner and reedier than normal and takes the "heft" from Sutherland's voice. So unless you can pitch it down, stay away!"