Album available // Bellini: Norma by Maria Callas ***Listen to our latest mastering update (2023)*** : cutt.ly/tem7kzVT 🎧 Qobuz cutt.ly/Tem7hfs2 Tidal cutt.ly/Xem7hIYs 🎧 Deezer cutt.ly/bem7jmfS Amazon Music cutt.ly/2em7j7sT 🎧 Napster cutt.ly/Tem7k1da RU-vid Music cutt.ly/tem7kzVT 🎧 Pandora, Anghami, Soundcloud, QQ音乐, LineMusic 日本… Vincenzo Bellini (1801-1835) - Norma : Opera in Two Acts. *Click to activate the English subtitles for the presentation* (00:00-03:38) Introduction with the Famous "Casta Diva" (00:00) Overture (07:22) Act 1 Ite Sul Colle (13:16) Svanir Le Voci (23:18) Norma Viene (31:42) Sediziose Voci (36:27) Casta Diva (40:48) Fine Al Rito E Il Sacre Bosco (48:07) Sgombra È La Sacra Selva (53:13) Eccolo ! Va (59:16) Va, Crudele (1:00:53) Vanne, E Li Cela Entrambi (1:09:30) Oh, Rimembranza (1:17:37) Ma Di’ L’Amato Giovane (1:26:07) Oh Non Tremare (1:27:35) Oh Di Qual Sei Tu Vittima (1:29:09) - Act 2 Dormono Entrambe.. Mi Chiami, O Norma! (1:37:22) Deh! Con Te (1:49:14) Mira, O Norma.. Cedi, Deh Cedi (1:53:28) Non Partì (2:00:42) Guerrieri, A Voi Venite.. Ah Del Tebro Al Gioggo Indegno (2:06:15) Ei Tornerà. Si.. Norma, Che Fu (2:11:09) Guerra! Guerra! (2:17:11) Nè Compi Il Rito.. Sacrilego Nemico (2:19:23) In Mia Man (2:23:37) Damni Quel Ferro (2:31:49) Qual Cor Tradisi (2:35:16) Norma, Deh! Norma Scolpati! (2:40:02) -- Norma : Maria Callas Pollione : Mario Filippeschi Adalgisa : Ebe Stignani Oroveso : Nicola Rossi-Lemeni Flavio : Paolo Caroli Clotilde : Rina Cavallari Coro del Teatro alla Scala, Milano Maestro del coro : Vittore Veneziani Orchestra del Teatro alla Scala, Milano Direttore : Tullio Serafin Recorded in 1954 New mastering in 2018 by AB for CMRR Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr -- En Gaule, vers 50 avant Jésus-Christ, dans la forêt sacrée des Druides. Le Grand Prêtre Orovese, qui prêche la révolte contre l'occupant romain, invite son peuple à se rendre sur la colline pour fêter la pleine lune, leur chaste déesse. Le proconsul romain Pollione, a eu secrètement deux enfants de la Grande Prêtresse Norma, fille d'Orovese. Volage, il aime maintenant la jeune Adalgise et voudrait l'emmener à Rome - car il ne supporte plus ce peuple de barbares. - Sous la clarté de la lune, Norma coupe le gui avec une faucille d'oc et invite les Gaulois à préserver la paix. Elle dit ensuite à su servante son pouc Pollione, que les druides pourtant mettraient volontiers à mort. Adalgise, amoureuse de Pollione, demande aux dieux de lui épargner cette passion. Mais Pollione la rejoint et elle consent à se sauver avec lui. En tout innocence, elle va se confier à Norma. Évoquant sa propre destinée, Norma lui montre la plus grande compassion... jusqu'à ce que paraisse l'objet de cet amour, Adalgise, enfin mise au courant de la situation, jure de mourir plutôt que de partir avec le traître. - Norma, désespérée, voudrait tuer les enfants que lui a donnés Pollione. Elle n'en trouve pas le courage. Elle fait alors appeler Adalgise et lui demande d'épouser le Romain et d'emmener les enfants. La jeune fille rivalise en grandeur d'âme et promet de persuader le parjure : il reviendra à de bons sentiments! Les deux « rivales se réconcilient pleinement. Orovese apprend l'arrivée d'un nouveau proconsul, encore plus cruel que Pollione. Mais l'heure de la révolte ne tardera plus. - Adalgise a échoué : Pollione veut l'enlever de force. Norma jure de se venger dans des flots de sang et déclenche le grand soulèvement des Gaulois. Il faut aux druides une victime expiatoire : Pollione, arrêté, tiendra ce rôle. Dans un dernier entretien, Norma tente de le fléchir. Vainement : « Plutôt la mort, dit-il, que de renoncer à Adalgise ! » Elle lui montre que sa disparition sera le signal affreux carnage il réclame pourtant le supplice. - Elle appelle alors les Gaulois et fait préparer le bûcher pour une autre victime : une prêtresse qui a renié ses vœux. Elle avoue publiquement sa faute. supplie Orovese d'épargner les enfants et monte au bûcher avec Pollione. - En 1954, Maria Callas est dans la plénitude de sa voix ; elle est aussi à ce moment où elle va faire redécouvrir la vérité du bel canto romantique, débarrassé des traditions véristes, restituant la pureté de la ligne, la science des nuances, l'alchimie des inflexions pour construire un personnage depuis sa peau jusqu'à son sang, jusqu'à sa moelle. - Et là, avec ce rôle qui sera peut-être son plus beau, son plus accompli, elle porte le feu dans cette voix qu'elle plie à toutes les ombres et à tous les éclats : qu'on écoute « « Mira o Norma » et le déchirant « In mia man », ces deux duos, avec Adalgise d'abord, avec Pollione ensuite, dans lesquels Callas calcule l'effet de sa voix pour l'accorder à ses partenaires - génie du théâtre; qu'on écoute, bien sûr, son fameux « Casta Diva » devenu légendaire, où toutes les nuances sont convoquées pour peindre un camée vivant et entendre en filigrane le frémissement qui l'agite. -- Joachim Andersen - Bellini’s Casta Diva for Flute and Piano ..+ Presentation (rf.rc.: Toke Lund Christiansen) : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-9LXwKBVVtZo.html - Bellini - La Sonnambula Opera - Ah! non credea mirarti (Maria Callas - ref.recording: Antonio Votto): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-T9J9JxVAm70.html - Giacomo Puccini & Vincenzo Bellini PLAYLIST (reference recordings) : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-96TbPwQn-9A.html
La differenza tra una grande cantante e la Callas è che basta il recitativo di ingresso di Norma per capire la grandezza della "Divina". Poi procedendo con Casta Diva, duetti ecc. si ha la conferma. Molte altre soprano hanno cantato Norma in modo meraviglioso, a volte con voce più pulita, pianissimi più dolci, acuti più.... ma una frase della Callas fa capire subito la sua grandezza. Norma è Callas. Lo stesso almeno per Sonnambula, Traviata, Armida, Tosca e forse altre eroine. Quando attacca Casta Diva mi vengono le lacrime agli occhi perché ho sentito decine di altre Casta Diva ma questa emozione solo da LEI
La Divina musica di Vincenzo Bellini cantata e interpretata divinamente da Maria Callas & Co. Un' edizione della Norma come questa nei giorni odierni c'è la possiamo semplicemente scordare.
Une des plus grandes oeuvres de l'histoire de l'opéra et une divine interprète. Maria Callas une des plus grandes interprètes de «Casta Diva». Merveilleux !
There will never be another Norma to compare with Callas. I just wish they had chosen another tenor rather than Filippeschi for this recording. Callas first sang Bellini's Norma in 1948, when she was just 25. She went on to perform the role of the heroic, but vulnerable Druid priestess -the ultimate embodiment of bel canto - more frequently than any other. In the second studio recording her conductor was again Tullio Serafin (he originally tutored her in the role in 1948), and the venue was again La Scala - where the opera was premiered in 1831. By 1960, Callas brought a wealth of new nuance to her interpretation, and she is aptly partnered by the creamy-voiced Christa Ludwig (in a rare recording of an Italian role) and the towering Franco Corelli.
@@TheVaughan5 Maybe dead to you, but not to others. Yes, good singers, but the kind who will be remembered and cherished for generations to come? Doubtful. Only time will tell, but I've yet to hear anyone singing now who makes me forget Callas, Sutherland, Nilsson, Te Kanawa, Fleming or Domingo, Bruson, Cappuccilli, Diego Flores, Caruso, Pavarotti, Milnes, Di Stefano, Corelli, MacNeil, Chernov, Diaz, Ghiaurov, Furlanetto, Morris, well, I could go on and on.
@@uppityglivestockian Yes people who applaud the most woeful singing today have no idea what the art of Italian opera is or should I say was all about. It's most likely that the few good singers today won't be remembered because as I say the art is dead so they are exceptions to the rule and don't enjoy the following or fan base that the greats of the past had. Today's opera is all about freak producers, the singers are secondary.
@@TheVaughan5 Right, the classic Italian vocal pedagogy has been abandoned for who knows how long now. It looks, to me, as if classic vocal pedagogy is still strong and prolific in the Caucasus Region, i.e., Russia, Bulgaria, Romania, and so on.
@BaroneVitellioScarpia1: Sutherland’s first one with Horne and Alexander is not negligible and shouldn’t be ignored. There is no reason to sacrifice yourself or your reasoning on the alter of Callas.
Callas, easily the best Norma of all time. Filippeschi is not my cup of tea as Polione. Stignani is marvelous as Adalgisa. Great recording, thanks much for sharing. Paz y salud.
@@johnpickford4222 The art of commentary is above all that of consciousness. When you have nothing to say that can add to the silence, you have to silent. So shut up. You trouble the music.
THANK YOU for this! The EMI/Warner sounds so dry/grainy to me. No idea what you did, but this sounds much more pleasant. (Can you please do the same to the Callas Forza del Destino? Please?) 🤗🤗
Hello, I have this recording on CD -EMI, and I think you are right. This new materized edition has a better sound. I am a Romanian big fan of Callas. Best regards, Gabriel D
If, God forbid, Casta Diva would have the first aria in the opera, it would have been unnecessary to stay for the rest of the performance. Thanks so very, very much for posting of Maria at her prime.
Hormis la fantastique et sublime Maria Callas, la direction de Serafin (orchestre) et surtout la direction de chœur de Vittore Veneziani sont exceptionnelles.
The 1960 recording is the reference. Corelli is better than Fillipeschi, the young Christa Ludwig is much more suited to Adalgisa than Stignani, and Zaccaria is more steady than Niccola Rossi-Lemeni. Serafin's conducting is pretty much the same, it's just Callas' voice is definitely fresher in the 1954 recording, but I still think the later recording trumps it.
Ich mag mich nicht entscheiden müssen, wer sagt, dass ich es muss?, der erotische Schönklang von Corelli-Ludwig oder die lodernde Leidenschaft der jüngeren Maria Callas? Was für ein Luxus, dass wir die Möglichkeit haben, auszuwählen.
Some sopranos may have had more compact voices, or sweeter voices, or a center more robust, or this or that, BUT, nobody, absolutely nobody could or can SING better than Callas did.... nobody.
Absolutely right. It depends on what "to sing very well means". In case it means beautiful voice, coloratura... other soprano have been better than Callas, but if "to sing very" well means to center the character and to give emotions with one phrase only, Callas has not competitors. This is the difference between great singers and Divina. Armida, Norma, Sonnambula, Tosca, Traviata is my short list of operas that, once heard with Callas all other renditions cannot be compared
@Lorenzo-be1nm: Yeah, every opera singer makes petty decisions (like not working with Searafin because he was obligated to record TRAVIATA and she couldn’t), never recording works unique to her voice (NABUCCO, MACBETTO, ANNA BOLENA or insisting on better colleagues and technology), correcting breathing problems in the late ‘50s, or throwing a career for an affair with a Greek billionaire only to be tossed aside like a cheap mistress. Yes, hardly the perfect person.
Perfect, I love this role by Callas, but I prefer Caballé's interpretation, specially in the Cabalettas. Those tempi are very slow. "Ah si fa core e abbracciami" 1:23:31 , " Oh non tremare" 1:27:35 , e "Adalgisa, Deh ti muova" 1:50:29 are best in 1,25 X. Try it...
Callas voice isn’t agile enough? 🤣🤣🤣🤣🤣🤣🤣 let’s start by stating facts here: Callas voice in its prime was at least 100 times bigger and heavier than Caballe in her absolute best night. And Callas voice was trillions and trillions of times more agile than Caballe as well. Serafin was known for slow tempo but that does not mean Callas coloratura isn’t fast.
@@beachfanatic2010 Yes, I know I deserve death for that reason I commented 😂. I explainned wrong. I meant to say that he didn't use his agility properly, either for Serafín or for whatever reason. But of course I know that Callas has no equal, for example in "sovra il sen la man mi posa", the mad scene from Lucia of Lammermoor, and in all the opera by il Barbiere di Siviglia she shows all her agility and accuracy
@@beachfanatic2010 Imagine those cabalettas sung by Callas, with Caballé's tempo. It would be perfection. Serafin's slow tempo takes all the emotion out of the scene
@@Antonio-qm3bi. The passages you note are slightly slower than how she sometimes performed them, but not radically so. It was a choice so that she can play with the text, dynamics, and colours. For example, Oh non tremare is at that pace so that she can still emphasize all the accents and enunciate all the words clearly. She also interprets those passages with a fair amount of rubati. Caballe actually speeds through those passages because her florid technique wasn’t as good. She lightens the voice and then sort of aspirates through them, not always cleanly. I’m not sure Caballe could sing those passages slower with her full voice engaged. The result is faster but with less expression and musicality. The pace generates a superficial sort of excitement.
Some nice phrasing. But, even this young, it almost appears AT TIMES as if she never had a lesson; all just raw talent, certainly some intelligence and a huge, ugly voice. The vibrato is already rebelling. She always sounds "on the edge", which I imagine was a main selling point in her career. For me, it is a disaster and painful to hear. She was astonishing for ears that knew nothing of the science of singing. She is astonishing to me because I always feel like running away- right after I scream, "Please, stop!!"
Joseph Collins Well well well. I’ve seen everything now. Please stop... yes PLEASE PLEASE stop the screaming homosexuals tenor arias of Benjamin Britten. Stick to the Mikado and leave Callas alone. It is funny how people rave about Britten but his music is never used in advertising. Actually it should have been used to advertise British Leyland cars.....
@@moltedo37 What the hell? I agree about Britten, but not sure what you are talking about. Are you a drunk? Mikado, homosexuals, Leyland cars. I was very kind to Callas. She was dreadful in most ways, and she certainly did not know how to sing. I think probably you have listened to lots of recordings; actually you sound like an "opera queen" ; probably you are a man. Anyway, I can help educate you. Don't feel ashamed.
Joseph Collins Hmmmm. Opera queen!!! As Dick Emery used to say....Oh you are awful...but I like you. Stella bongo is my Nome de plume, My wife loves Callas. I prefer Anna Moffo and Lucia Popp ( specially in - De vieni. non tardar). You should say that you don’t like the way Callas sing but not that she can’t sing. You seem to imply that every body is stupid and you are the only one that can see the multitude of faults in Callas. Anyways it is a bit presumptuous of you to think that you can educate me. You don’t know me and don’t know my level of education. Wagner didn’t compose short arias that you get in Italian operas. He liked long sustained melodies. Which composer influenced him in this ? Especially one opera.
@@moltedo37 Hello, Stella. Where to begin? I read again the first thing you wrote, and I was very kind to you. It is almost incoherent, musically. I think I was very nice. Giving you the benefit of the doubt, I tried to understand what you said. Kind of comical to me- you having the , as you called it, "nom de plume" ( "nom" is the preferred spelling; best not throw around French to a man who knows it really well) of Stella. However, anybody who loves the aria 'De Vieni non Tardar' is OK by me. I imagine I would like you very much. I also enjoy Anna Moffo, particularly in the beginning, before the scooping and reaching. I also like Lucia Popp, although I'm not sure why you mention them as they are not especially in the same Fach as Callas. I do not like the way Callas "sings" if you want to call that singing. I, indeed, can say it is not singing because it is so flawed technically; I believe I was generous in mentioning her astounding raw talent. But, if you know singing ( not simply listening to recordings; I can watch tennis all say, but I don't know the skill) you have to realize that Callas cannot really sing and negotiate her voice with reliability and consistency. Now, not only do you need to watch your grammar if you're going to critique, if you're going to spar with me, but, you need to have a bit more knowledge than music appreciation class-level. I do not think everyone is stupid about music other than myself; I wish I knew what some know. My knowledge of general music is extremely large. I'm not bragging; it is! I don't know a thing about most other areas. If you consider degrees to mean anything (and I don't-necessarily) I have four, including a Doctorate of Arts in music, history and performance. I also have post-doctorate degrees from Vienna University and The Schubert Institute. As far as the voice and singing are concerned specifically, I have advanced degrees in Vocal Pedagogy; I know how it works like a medical doctor. I also have so many honors and awards for singing, internationally, that you probably don't want to go there; I don't, either; and too many good singers don't really know the science of the art, anyway. As for Wagner? Oh, my, dear man, so much of my doctoral work was about Wagner. And, yes, I know about his influences, all of them; and not because I read a book; I have analyzed the scores. You speak very simply about his style; it's not so clear-cut as you think. I'm not trying to be a dick. Callas cannot sing, and it is painful to hear it. But, my goodness! So many love her as a goddess! That is fine. The pain and drama in her voice appeals to many, especially homosexuals. But, she does not know the art of singing. She obviously knew things as far as operatic coaching is concerned, and I have read that she was a wonderful musician. She cannot sing.
@@josephcollins6033 Ah... La plume de ma tante. If you are so well educated you should never send a letter, email, text, without checking the spelling first. "I can watch tennis all SAY? And the best one... I don't KNOW the skill.. At the and of the day in Music, painting, or anything else as the Italians say... Non è bello ció che è bello, è bello ció che piace.
Callas estaba en la plenitud en esta histórica grabación. Imposible no estremecerse, llorar incluso, escuchándola. Gracias por subir estos inolvidables momentos.
Salutări din partea unui mare fan al Mariei Callas. Eu am această înregistrare pe CD de la EMI, dar prezenta masterizare are un sunet mai bun. Înregistrarea a fost făcută la Cinema Metropol din Milano în 1954. Toate cele bune, Gabriel D
Absolutely delightful. A wonderful gift shared with us. Maria Callas, a name that will never be forgotten. I am not an 'opera buff' but I know what I like and her voice is simply enthralling.
@@BaroneVitellioScarpia1 During these dreadful times I am enjoying my new found delight in opera. I have noticed that I am favouring the singers from the past. Am I being biased? Nomatter, it is all wonderful.
+Classical Music -- Thank you very much for sharing this rare masterpiece. Such gems should not be lost to future generations. I appreciate you doing your part to preserve the West's heritage of great works of music. Long live the voice of Callas!
норма моя любимая опера но в исполнении м каласс нет слов чтоб передать мой восторг от прослушивания этой прекрасной оперы спасибо за счастье что была в театре милана
Callas and Norma, Wonderful excerpts to discover the work : 40:48 ; 1:17:37 ; 1:27:35 ; 1:29:09 ; 1:43:22 ; 1:49:31 ; 1:53:29 ; 2:12:16 ; 2:23:46 ; 2:24:23 ; 2:29:22 ; 2:42:43.. On 30th November 1948 the young Maria Callas made her debut in Bellini’s Norma at the Teatro Communale in Florence under the direction of Tullio Serafin, who prepared the 25-year-old soprano for that exacting role after her studies with Elvira de Hidalgo in Athens. Callas revived the Romantic bel canto style in a truly revolutionary manner with her individual voice and vast vocal range which extended from high coloratura to heavy, dark dramatic soprano. The tenor Mirto Picchi was her first Pollione and his memoirs vividly describe the elation of both public and critics alike after that first night in Florence. Zaffirelli has said ‘’Maria identified with Norma greatly. In a way it was her own story. Maria, after all, is a high priestess of her art. Yet, at the same time, she is the most fallible of women. Very human. As Norma, Maria created the maximum of what opera can be. In a lifetime, one can see many great things in the theatre, but to see Maria Callas in Norma, what is there to compare to it ? Maria Callas - 90 Opera Arias, Carmen, Norma, Tosca, Traviata, Butterfly.. NEW MASTERING (Ct.rec.) : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-VU1CZWEzQDA.html
@milanetc4865: You should check out the stereo 1960 version, the MADAMA BUTTERFLY recording and several live ones like the 1955 LA SONNAMBULA conducted by Bernstein.
Fantástica essa gravação! Há muito gosto de Fado, de Bocelli, de Pavarotti em sua versões mais populares...Mas, de Ópera, fiquei encantada depois de ouvir "La Divina" Callas brincar, sem dificuldades, de subir e descer sua voz. Em sua melhor fase, ela não era desse mundo! Tinha uma voz superba, de anjo!
Tullio Serafin conducts here in slow tempi. Only the singer with solid technical background, and belcanto technique will successfully go through this seemingly simple score. Today, few singers have even basic musical schooling, not to mention basic belcanto technique - they sing this opera , breaking their voices ang destroying the opera itself.
Very sadly true! The art of Bel Canto singing is almost gone now! No more Serafins, no more Callas's. No more of the great artists that truly knew and understood this great school of music. Maybe in another era in the future, it may re-surface. But it will take another Serafin and Callas combination! (And a great teacher like di Hidalgo).
@@artdanks I think it’s highly unlikely that great opera singing will ever return simply because the art of teaching has gone. - the fact that a Scala audience can applaud the most dire performance imaginable tells the whole story.
J'adore! Everytime I sing Bellini or Verdi or Puccini, it’s impossible for me not to be inspired by the great Maria. There's always a bit of her in every note I play
Admirar a la única soprano asolutta de que se tiene registro en el siglo XX, heredera de las grandes divas que extrenaron las operas de su repertorio es un privilegio de las generaciones que después de su legado continuan admirando sus grabaciones. Sumaba a sus tres octavas y un semi tono, una admirable dicción y una excelente técnica capaz de aligerar la robustez de su voz a límites inigualables. Su voz caia como una contralto en los abismos verdianos, pasaba por la cavernocidad de una mezzo-soprano que le permitía interpretar todo el registro para esa voz sin ningún problema, intretando desde una Carman exepcional a títulos de Rossini con absoluto dominio belcantista sin apartarse del color necesario para darle al persona el énfasis necesario. Superlativa en el registro de soprano dramática que le hizo merecer ser la exhumadora de óperas tan complejas como Macbeth o Nabucco. Su registro de soprano lírica y de coloratura dejó sus mejors momentos en óperas tales como Traviata, Aida, Tosca, Manon Lescaut, Forza del destino, La Gioconda, sin olvidar su sublime Norma y la inigualable Medea de Cherubini. Sus notas de soprano ligera sumado a una facilidad inigualable para aligerar la voz indispensable para maravillar en la Sonambula y Lacmé. El robusto caudal vocal, su musculatura laringea incomparable le permitió cantar en la Fenice de Venecia, cuando aún su carrera estaba dando los primeros pasos La Walkiria de Wagner y a la semana maravillar al mismo público con una Elvira de I Puritani de Bellini cuya tesitura está en las antípodas del genio aleman. Su Lucia di Lammermoor es inigualable. Operas como Il Pirata de Bllini o Armida de Rossini no pudieron ser igualadas nunca más. Elizabeth Schwarkopf, eximia soprano alemana, al escuchar a Callas en La Traviata, en la Arena di Verona, al salir dijo que ella no cantaría nunca más esta ópera. Al preguntarle el reportero por qué decia eso, ella respondió: para que intentar cantar lo que María hace en forma superlativa e inigualable. Elvira de Hidalgo, su maestra le mudó su técnica y expriencia en el bel canto tradicional y esto, sumado a sus dotes de gran actriz, la convirtieron en la Divina.
La mayoría de los comentarios se refieren al gran momento que atravesaba la Callas en el 54. Cierto. Pero insisto, aún si María Callas en las peores etapas de su carrera hubiera decidido, no cantar la Norma, sino recitarla, declamarla, seguiría siendo mil veces mejor que todas las sopranos de hoy día . La Callas es y seguirá siendo EXTRAORDINARIA!!!Gracias❤❤❤
Ovvio che appartiene al mondo intero, come tutti i più grandi geni, compositori ed artisti esistiti ed esistenti. Detto ciò ribadisco che Vincenzo Bellini, detto il cigno catanese, nacque a Catania (città che lo ama e lo omaggia intintolandogli il suo meraviglioso teatro lirico). Il nonno, Vincenzo Tobia Nicola Bellini (di origini abruzzesi), fu un celebre compositore di musica sacra. Ingaggiato dal mecenate catanese Ignazio Paternò-Castello V, principe di Biscari, si trasferisce definitivamente a Catania dove conosce la moglie, la catanese Michelina Burzì, dalla quale ebbe cinque figli. Il primogenito Rosario, compositore minore, sarà a sua volta padre del ben più celebre Vincenzo.
@@danielaardizzone2687 Non se la prenda perchè conosco bene la storia di bellini,posso aggiungere che gli studi al conservatorio di napoli vennero pagati dal comune di Catania,e morto giovane avesse vissuto come alcuni suoi colleghi penso non ci sarebbero stati eguali,mi permetto di consigliare di ascoltare(i Puritani Callas Di Stefano del 1952,mi scuso non volevo irritarla.
Amazingly beautiful! Listening to how Bellini nurtures the beauty of a melody here, I can understand why Chopin so admired Bellini. The most subtle elaboration of the melody results in such beauty. Also, the interplay between solo voce and chorus is absolutely brilliant. Bellini creates this wonderful beauty of the aria supported by the chorus. So beautiful! And then of course there’s Callas...
viverito yes Wagner said, that Norma would stay forever, which is however somewhat arrogant in itself. I however doubt, that Bellini would have liked Wagner, perhaps he would have admired his unquestionable mastership, but I doubt he would have liked the results of it
@@viverito It's the opposite, a section of Norma that sounds Wagnerian: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-hOB3xJ5k8mg.html, although plainly Wagner sought the secret of Bellini's technique of continuous melody in Norma, finding it perhaps in Tristan and Die Walkure.
Se considera por expertos que la historia de la Ópera se divide entre antes de ella y después de ella, con una voz impresionante, que va desde los tonos de soprano ligera hasta dramática por su registro de voz, único en el mundo, pues, alcanzaba 2 y media escala de registro
