“An opera begins long before the curtain goes up and ends long after it has come down. It starts in my imagination, it becomes my life, and it stays part of my life long after I've left the opera house.” - Maria Callas
Why are the most of opera lovers obsessed with the 20th centry singers? Such a wrong period we are living. Golden age of Opera has ended for a long time ago. We are all super unhappy to not experience those wonderful, fantastical, magical, mindblowing performances like this Norma. Gosh, Callas is the Goddess I adore. Impossible to be not amazed by her powerful energy of her voice, the loudness, the colour, the interpretation. Never enough words I have to describe how she affects me every single time when I listen her. Such a holy trio - Callas Monaco - Simionato. I would give my years to listen them alive.
I think anyone with a knowledge of great singing would agree that basically the golden age of opera ended in the 1980’s. From that time there have been fewer and fewer singers who can match their predecessors. Some so called “stars” of today would never have made it to major roles in the important Opera Houses. Ok Maria was an exception even in the golden age but there were so many other wonderful singers around totally unlike today. I’ve never been a great fan of Monaco, he is just too forceful which becomes tiring, however that’s just a personal opinion.
For me, this is THE performance of Norma, never to be equaled again. Callas was supported by the finest colleagues of the period (Simionato and Del Monaco), and everyone is living their roles. The audience clearly was electrified! thank you for posting this. There were other very great Norma performances, but this is the pinnacle!
....Lately I showed my wife parts of a current production. Afterwards THIS Norma. My wife after listening for a certain time remarked, „ maybe todays singers cannot do better“. Right she was/is. Polliones nowadays sound like polished tin to MDMs golden bronze shining voice. Sergeants to a General, housecats to a lion. The Norma of MC is a world of her own. The audience surely went into a kind of hysteria, overwhelmed by La Divina... Voices like MC and MDM only appear once on earth. They are needed upstairs and if we are lucky we might meet them again. This Scala-Production is for eternity and could enlighten the dark side of the moon. Mi piace moltissimo
Totally agree. Especially about La Divina.. no one else could really handle Norma appropriately like she did in the slightest. Callas really was unique and in a class of her own. MDM is also wonderful, but so were many tenors of that era though imo. He is my favorite Pollione, but the problem is not just that MDM was a great voice and can't replicated today, but more so that singers are not encouraged to release their full passions today like they were back then and hence do not sing as excitingly. Bc really there were many great tenors back then who could handle Pollione. Each was different yes but the point is that there were many good ones back then unlike today
Thanks for this historical post. This is the greatest Callas Norma left, in live or studio recording. There was another Callas Norma that by all evidence would surpass this la Scala 55 performance: the London 1957 Callas Norma, but unfortunately it was not recorded. It must be remarked that in 1955 Callas was already slim and this recording testifies her vocal powers were in full health and at Callas full command of them, a fact that clearly belies the voices that say that by slimming, Callas lost her voice. And yet Callas presented in the following years, her definitive and till today incomparable and unmatched renderings of Sonnambula, Traviata, Medea, Bolena, Pirata, Ballo in Maschera, etc. A lost voice could never be able to accomplish that and in the superlative way Callas accomplished. Callas herself stated that the best things she did in her careeer, she did them when she was slim.
Questa produzione allineava tre divinità del Canto: Callas, Del Monaco, Simionato diretti da Antonino Votto, un fantastico concertatore troppo poco ricordato.
Thank you for posting this. Fascinating document...I love every one of the cast members - Especially Callas and MDM! Del Monaco was superb - he sounded almost like a baritone with an upper extension. I personally prefer the pre weight loss voice of Callas - but she sounded very very good here. The "Trema per me fellon Ah!" with the two high C's was outstanding (among many other very well done selections) I admire her tremendously...and I think Del Monaco had the GREATEST and largest Italian tenor voice in the world...
At 1:11:42, Maria Callas makes the audience all gasp during her Norma, live at La Scala... Perfect attack and diminuendo: We’re gasping 63 years later son iiiiiiiiioooo ("una spergiura sacerdotessa", 2:19:10) e la gente non può contenere l'applauso! -- To Norma's confession (It's me), the sudden color of Callas voice and the diminuendo cause the applause of the audience (I think that there was also a beautiful gesture of Callas, who slowly removed her crown from head and let it fall to the ground)
...recording of the century for every century to come. Compared to MC and MDM current singers sound Novice-like. MDM looks like/ sings a General. Current tenors sound more like cadets. And MC remains La Divina for all times to come when performing one of her signature roles like Norma. Mi piace moltissimo
Thank you belcantopera for posting this. For years I have been searching for specifically this recording as I knew of its existence on a rather obscure recordlabel. Up till now I have happily been living with her 1960 recording, but to have this at my disposal is the pinnacle. Callas's performance is breathtakingly and hauntingly beautiful and I doubt if there will ever be a singer who is going to be able to match her. Again, hank you.
На мой взгляд 50-годы, годы расцвета легендарного Ла скала. Трогающий до глубины души Франк Корелли, чувственный Джузеппе Ди Стефано, мощный Марио Дель Монако, божественная Мария Каллас, лиричная Рената Тебальди. Божественная Каллас по сердцу скребёт. Любимая Тебальди как бриллиант сверкает. Ди Стефано красиво напевает. Дель Монако Нормой душу рвет. Что хочется все это слушать ночи напролет. Тебе спасибо дивная Италия. За дар богов, за эти голоса. Что будут вечно петь на небосклоне.Там будет жить моя душа.
ascoltata e riascoltata e riascoltata ancora SUBLIME , non si finisce mai di conoscere Norma e la Grandissima Maria Callas . Grazie per averla postata. Grande Votto
The strings in the opening of the 2nd act mirror the vocal line in the section 'I nostri figli! O pena' in the final scene. And I'm just noticing Adalgisa's recitative before 'Ah rimembranza': the line 'Un altro cielo in lui' mirrors Callas' 'Son Io!' in the final scene. Such beauty. All hail Bellini!
Yes, the concept of 'concealed repetition', the uncovering of a non-obvious repetition, has proven a rewarding analytic tool, and leads to exciting conclusions
Grande Callas! A Maria das grades persongens! Não houve uma maior, nem maior a haverá! Callas não morreu, apenas foi cantar para sempre em outro Lugar...
En esta versión de Callas, la Divina nos deja como legado una de sus mejores interpretaciones del personaje. Realmente Callas es Norma. En esta oportunidad un increíble y heroico Mario Del Monaco, su brocea voz, conjuga con la de la Callas, la Simionato cumple con la exigencias y los dos dúos con Callas son irrepetibles. Realmente un regalo de los dioses esta grabación para nosotros los mortales, la perfección hubiera sido si el gran Tullio Serafin fuera el director. Votto es muy buen, pero Serafín era superior.
The scala community even before it's finished the last note of aria and music has just begun to scream and applause ... I'm back to say, the scala community. That says it all.
The most prolific Norma of the postwar period was Maria Callas, with 89 stage performances (several of which exist on recording), along with two studio recordings (made in 1955 and 1960). And I don't think it's controversial to claim that her Norma is her greatest role, and she unleashes on us a monumental portrait of a warrior Priestess. If you love to hear the 32-year-old, newly dieted Callas at her utmost peak, you must have this Norma. A good reminder that Sicilian belcanto isn't necessarily undramatic... Norma is a drama, not a showcase for glitzy technique. I want to stress that Bellini's music can be very dramatic but singers seldom do it justice. The other day I listened to such a nondescript Elvira... they do kinda sleepwalk when they sing Bellini. Still ill, take this over almost anyone today.
I love this whole opera from overture to finale... I really enjoyed this orevoso. I prefer post weight loss voice of callas. Her posture confidence & persuasion are better post lost weight. Not to mention was healthier & more presentable.
This recording is what makes Callas La Divina. Not just the greatest soprano but the greatest SINGER of all time! NO ONE will ever match the drama, the technique, the musicianship, and the artistry. Forget about the acting! Who even cares what she is doing with her arms, this woman is the greatest SINGING actress. She acts with her VOICE! The greatest artist of the 20th century BAR NONE.
This is so good! Thank you for the upload! I’ve only ever heard live recordings from her younger days. Love hearing the legend in her prime! Thank you!!!!
CALLAS È NORMA, IN TUTTE LE SUE SFACCETTATURE. GRANDE INTESA E ALCHIMIA CON " LA Giulia" ( SIMIONATO)Come la chiamava lei. DEL MONACO Non convince molto, avrei preferito el terzetto un Franco Corelli. STUPENDO ARTISTA e nn solo. VOTTO GRAN COMANDANTE.
Antonino Votto fu ultimo sostituto e preparatore di Toscanini e per i malanni di de Sabata e la morte davvero prematura di Guido Cantelli divenne il direttore stabile della Scala per un lungo periodo. Uomo modesto e conscio del sé nel 1957 tanto che per le esequie di Toscanini cedette la bacchetta dell’orchestra scaligera, che eseguiva la marcia funebre dell’Eroica, proprio al rivale di Toscanini: Victor de Sabata, limitandosi a dirigere il “libera me” intonato in duomo dalla Gencer. Da Votto viene, in un video del 1967 ripresa delle celebrazioni per il decimo anniversario della morte di Toscanini, un insegnamento unico ovvero che un direttore non deve mai parlare ma dirigere.
Norma è forse l’opera che Maria Callas ha più cantato. L’opera di Bellini fu scelta per la prima della stagione lirica 1955/56 alla Scala di Milano. La produzione fu diretta da Margherita Wallmann e progettata da Salvatore Fiume. “La prima del 7 dicembre è senza dubbio la più bella recita completa di tutte le Norme della Callas che esistono su nastro o disco. La Callas era assolutamente all’apice della vocalità ed interpretazione”. (Henry Wisneski)
Dunque: Del Monaco non è male. Del Monaco aveva voce tripla (ma questo non è cosa fondamentale), però squillante, bronzea, piena. In quanto al fraseggio mi chiedo sempre perché i tenori attacchino l'aria "Meco all'altar di Venere" forte, sarebbe migliore iniziare il racconto di un sogno in modo più sommesso (ma lo so che si sale subito al sol e dunque si decide di dare subito gas con forza... ma anche qui si vede la zampata del fuoriclasse! Bergonzi lo fa, Del Monaco no!). E Del Monaco non ci provava nemmeno di legare, tutto stentoreo e pensato nota per nota, invece di pensare ad una frase musicale lunga, come sempre in Bellini. Del Monaco coi suoi difetti stilistici è stato comunque un grande Pollione, di portata storica (avrebbe potuto essere ancora più grande se avesse pensato un po' di più alla Musica e meno alla "bocca di fuoco"!) In Del Monaco vedo un tentativo di riportare l'immobilita' di una statua greco-romana (chiaramente con tutti i difetti citati) e in qualche maniera il cantante con il suo istrionismo riesce a rendere. La sua emissione è sempre rotonda squillante non urla poi certo non ha tante dinamiche... (primo periodo qualcosa c'era)...
Ho letto il suo commento ed in parte le do ragione...ma non mi parli di Bergonzi nei confronti di Del Monaco...Pollione è un guerro romano,e nessuno meglio di Del Monaco può farlo...forse Merli era un grande Pollione,Vickers...ma Bergonzi è troppo raffinato per una parte così cruda e drammatica...saluti
A proposito di Mario Del Monaco ... Qui un incredibille Polione. "francamente mi pare un Pollione ubriaco" ? guarda, ti dirò che per quanto sia sopra alle righe non lo trovo tanto fuori quanto in altre cose (e mi riferisco al suo “Ch’ella mi creda”) Pollione deve essere eroico e col vocione!!!! Miei cari se ci fosse ancora in vita Maria Callas chi di voi puo' immaginare il furore di Norma per un Pollione come Osborn? Chiaro che non essendoci da decenni una Norma chiunque va' bene.
I remember there was a Callas' Norma which was recorded with the slowest tempo ever. Which version is that? The 55? the 52? Does anybody know? Thank you!!
O anúncio -tosco- com bonecada verde é incomodativo e nem sei de que trata tal a minha rejeição à insistente repetição. Vá p'a escola, mnino e não incomode
His entire approach to the role ,if it can be called such ,is insanely aggressive and one-note . One only needs to look at a score to realize he's ignoring all markings and indications . This was supposed to be Bellini . Yeah... This is what you get when you let loose at Bellini someone whose technique is fitting Mascagni's Isabeau ,best case . Ghiringhelli must have been totally unmusical or totally insensitive to cast them together . Very possibly both .
