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The Best Norma Recording Is Also The Most Neglected

Rachel Garret | Beverly Hills | 12/23/2002

(5 out of 5 stars)

"This statement is very true. This particular recording (either 60's or 70's) has been overlooked. Listeners turn to the recordings made famous by the singers, Maria Callas and Joan Sutherland. It is a fact that Bellini's dramatic heroine Norma is the most challenging and difficult role for a soprano. It is a tour de force character, she is a Druid priestess, whose people depend on her for victory against the Roman army who have occupied their land. The soprano singing Norma must be a dramatic voice, a flexible voice, full of fire, some coloratura and mellifluous, flowing lines. It's very rare to find a soprano who most fits the profile. Without a doubt, it was Maria Calla's signature role and her greatest, and she proved her dramatic prowess on the stage. She moved audiences with her acting, and did not get criticized for her singing in that particular role. Joan Sutherland is full of vocal beauty, evidently suited best for the bel canto repertoire, and her Norma recordings never lack in audial beauty, but do lack in drama and intensity.Combining the vocal beauty of Joan Sutherland and the acting talents of Maria Callas is the perfect Norma that most people rarely realize. She was Shirley Verret, an African-American mezzo soprano who made the leap into dramatic soprano. She was a powerful actress, and her voice was a Niagra fall of flexibility. She could do most anything with her voice, having sung Adalgisa and Norma, Tosca, Aida, Amneris, and she was active also as a recitalist. Shirley Verret's voice is more suited for Norma because originally, Bellini made the role of Norma for mezzo soprano, and Adalgisa was supposed to be a lighter, dramatic voice. Because Shirley has sung both Norm and Adalgisa, she must know the characters well and her voice must be taken seriously.Norma tells the story of the eponymous Druid priestess and her protege, Adalgisa. For years, Norma has had an affair with a Roman soldier Pellione, and borne him two children. When Pellione abandons Norma and falls for the younger Adalgisa, Norma becomes a darker, vengeful figure, completely different than her first act portrayal. In Act 1, we get her bel canto melodies, the glorious master aria, "Casta Diva" and "O bello a mi ritorno", and duets with Pellione. But it is later in the opera when we realize how she has a darker, furious jealous side (O Non tremare!) and of course, the scene in which she attempts to kill her own children but does not in the end. The opera ends with Norma's confession to her people and her dignity as she walks into the immolation flames for her transgression. Pellione is so moved by Norma's courage, that he, too, feels it is appropriate that he join her and perish in the fire. A romantic, intensely dramatic opera whose storyline could have spewed from the pages of Greek tragedy, Norma is the greatest opera in the bel canto repertoire."

Overall, a pretty good recording

V. Chau | San Diego, CA | 02/17/2003

(5 out of 5 stars)

"This live recording of "Norma" is pretty good. It features the outstanding mezzo-soprano Shirley Verrett. She is partnered by excellent colleagues. Her Adalgisa sings well and is ably flexible. This Adalgisa hits a stupendous high note in the duet "Oh, rimembranza". Her Pollione is also excellent. He has nice flexibility in his voice. His florid moments are well done. His voice reminds me of Pavarotti's. The Oroveso is Clifford Grant. He does an excellent job with his booming bass voice. The conductor, Paolo Peloso, gives a riveting account of Bellini's melodious score. Verrett is the real star of this set. I was very skeptical of a mezzo singing an overtly soprano role, a very difficult one at that. Verrett is excellent. Her voice is big and amazingly flexible. She has excellent pianissimos. Her live recordings are preferable to her studio recordings. I own Beverly Sills' recording of "Anna Bolena" and was very disappointed by Verrett's dramatic restraint. She is too regal in her bearing. Her character, Giovanna Seymour, only becomes queen at the end of the opera. However, many people consider that recording to be one of her best efforts. Anyways, Verrett is like many other great opera stars, Sills included. She is much more lively and dramatically involved in live performances than in the recording studio. Her portrayal of Norma is wonderful. She sings extremely well and is totally committed to her role. I only have two complaints about her portrayal. Neither of the two actually concern her dramatic commitment. The first complaint is the tendency of her voice to wobble. This only occurs a few times throughout the opera, but it occurs sufficiently to become a minor annoyance. The second complaint is Verrett's variable diction. She distorts many of her vowels, especially the "e" and the "i". I realize this is a live recording, but surely a prompter was available at the time of this performance. Her "Casta Diva" is quite rough, but "Fine al rito" and the ensuing cabaletta are great. The coloratura is fine. It is not the most beautiful rendition of that famous aria, but it is good nonetheless. Montserrat Caballé and Joan Sutherland have the most beautiful renditions of that aria. Verrett's trill is good, but I would have liked it to have been tighter. Her breath control is very good. Her presence dominates the ensembles. The Act 1 finale is performed magnificently. Many bravos came when it was finished. The finale of the opera is also excellent. Her rendition of "Dormono entrambi" is very good. Her use of her chest register is sparing, but sufficient. Being a mezzo, she is able to give full, rich low notes when the role calls for them. She doesn't go crazy like a certain Greek-American soprano when it comes to using, or should I say abusing, her chest register. The sound is pretty good. Coughs and stage noises are kept to a minimum. There is occasional distortion, but that is to be expected from a live recording from 1978. Overall, this is a great live recording of "Norma". It compares favorably with Caballé's live recording from Orange, France. However, some may prefer that recording to this one because the title role was taken by a soprano, not a mezzo. That is just personal preference. Anyway, happy CD shopping."

A Great Recording Like This Should Not Be Overlooked

Rachel Garret | Beverly Hills | 12/19/2002

(5 out of 5 stars)

"When most opera buffs and afficionados go for Norma recordings, they are aware that it is without question the most beautiful and dramatic of the bel canto repertoire. It is also a soprano's opera, for the voice that calls for the character of Norma must convey great dramatic emotions- love, maternal instincts, hate, jealousy, beauty. It is the most challenging role for sopranos to take. Very few have taken on Norma. There is always the hype surrounding Maria Calla's portrayal of Norma. This was her greatest performance. There is no doubting her supremacy as an actress and her vocal inflection for Norma is chalk full of intense emotion and lyric melody. Joan Sutherland also made the role a signature of hers. The few others to have tackled the role have also included Beverly Sills, whose lighter voice was deeply strained for dramatic effect. Nevertheless, there is also Shirley Verret, often overlooked as Norma.Shirley Verret was a mezzo soprano who made the leap into dramatic soprano. She was a powerful stage performer, voluptuous African-American woman who had previously sang Adalgisa. Bellini specifically wrote Adalgisa's character to sing at higher register than Norma, who is supposed to have been a mezzo. Shirley's experience as both a mezzo and dramatic soprano makes her THE BEST NORMA. Listen to the fire in her voice as she sings "A Non Tremare!" and her duet with Adalgisa is exceptional. Her duets with Pellinore, and her final immolation scene are each a testament to a great but obscure diva. Shirley Verret is also quite striking in her aria "Casta Diva", with her voice mellifluous in the sustained legato lines and in the coloratura in the midsection, as well as appropriately dramatic in the crescendo. I strongly suggest you try this recording. Try the rest but then try the best. It is a shame no one has reviewed this yet. In this recording, you will find a sublime opera with top notch performers. For more of Shirley Verret, you may also look for her in Donizetti's Lucrezia Borgia and in Anna Bolena, the recording with Beverly Sills in the title role."