Norma assoluta

Along with Gaetano Donizetti and Rossini forms of deceased very young Sicilian Vincenzo Bellini the triumvirate of the famous bel canto - composers who dominated the opera event of the first half of the 19th century, almost without restriction. Of these three, some time each year appeared for at least one new opera that usually followed a proven knitting patterns: a text book with a nothing to act pleasing and lively music, to one to three prominent singers who with their stimmakrobatischen skills the audience ovation storms hinrissen. However, this has always recorded as superficial maligned opera style masterpieces on the credit side, without which the musical theater a lot would be poorer, as Rossini's "Il baribiere di Siviglia", "La Cenerentola" and "Guillaume Tell" (actually no bel canto - opera more ), Donizetti's "L'elisir d'amore", "Lucia di Lammermoor" and "Don Pasquale" and of course, Bellini's "Norma".
Just three years remained Bellini to savor his fame. In 1831 he had celebrated his international breakthrough after some initial successes with "La Sonnambula" in the same year, on 26 December, "Norma" was first performed in Milan, in triumphal procession, the plant spread in the next few years all over the world and gave who died at just 33 years Bellini its rightful place in music - Pantheon.
"Norma" Bellini's name saved from oblivion, the hugely demanding title role was for each singer, who held something up, an incentive of the other works of the composer were allowed largely fingers. They were considered outdated, the influence of the omnipresent Master Verdi and Wagner with their sophisticated musical dramas repressed the representatives of the pure art of singing in a niche, even though Wagner, the sharpest despisers of bel canto, is expressed at least about "Norma" unqualified praise. Bellini himself was dismissed as "precursor Verdi" and his scores in the dusty archives.
That changed when, after the 2nd World War the demand for simple and beautiful music admirable vocal performance increase by leaps and bounds. Added to this was that the Teatro alla Scala, especially by the emergence Maria Callas' and their congenial fellow Gobbi and di Stefano, in the 50s in a "golden age" came. Finally was again a prima donna as that for the extremely difficult Bellini - brought lots both the vocal skills, as well as the actor's talent. So it was in the early 50's a true "Bellini - Renaissance", forgotten works such as "Il Pirata", "Beatrice di Tenda" and "I Puritani" were also given, as something more common "Sonnambula". The diamond in the bel canto - crown but remained the "Norma", almost over their entire career away the signature role of Callas. In 1948 she sang the role for the first time in Florence under the Dirgat their conveyor Tullio Serafin, then it was hardly a year in which the Callas not somewhere course itself earned fame in the world of this game and. Even when her voice was already badly damaged, she stood still as "Norma" on the stage, what you now lack of vocal performance, she made her acting talent betting, remained until the last appearance in the role in 1965 and remains the epitome for the ideal candidate of the game, the "Norma assoluta".
This complete recording dates back to 1954, so to speak, in the middle of the "Golden Age". At the end of the Callas triumphal Scala - season Serafin brought together an ensemble that had ausreichede experience with the vacant roles and vocally could act on (almost) continuously high level. As with Serafin usual comes not from the conductor's podium, but by the singers of the captivating magic of this recording. Serafin was no desk Star bathing with closed eyes and even forget the sound of the orchestra sea, but always acted as a supportive companion, like a good accompanist. He does not try to impose by exposing certain orchestral parts or slowing or accelerating the tempo of the opera his unmistakable stamp, simply flexes Bellini and not lost in the harmony (that is Bellini's music, to be honest, not even her), but is an always modestly in the background acting tamer of the otherwise happy times wrong gambling Scala - orchestra. Something must also first can.
Like no other opera stands or falls the "Norma" with the leading lady. It is almost constantly on stage, always takes center stage and the action must seize almost single-handedly. She has to deal with a vocal part, which is filled with grace notes, sixteenth runs, scales and constantly on the grading system also leading high notes. A "Norma" must therefore be acting as vocally for a total of nearly 2 3/4 hours awake and present constantly, can not afford the slightest lapse in concentration, without this being noticed by the listener. For Maria Callas in the form of 1954 this challenge was just right. Already world famous for their "Norma" they sat down with this recording a memorial. Like any of her favorite roles she has internalized the Gallic priestess and brings the feat, from more than 50 - years to lead her away Rollenportait the listener alone with her songs in mind. As a Vorrezensent really noticed, is this is not a video, but that's not even necessary. If you have enough imagination, the movie will play automatically in the head and Maria Callas is the biggest help. Vocally it is at its peak, the extreme difficulty of the role she copes with a sovereignty that is unparalleled. From heavenly "Casta diva" to her shocking admission of guilt she pulls the listener in its spell to him never quite let go. A more convincing and vocally better "Norma" to me is not (yet) possible. Let's see the next "assoluta" is determined.
Even for the important role of Adalgisa a proven force was brought. Ebe Stignani had as early as 1926 makes its debut in this role at La Scala and was since then as ideal candidate for the young, somewhat naive priestess. On stage, the significant age difference between her and Maria Callas may have appeared a bit irritating, but on CD it shows the Stignani her advanced age scarcely to. Also it can recoup for her role of a wealth of experience and sings with a wonderfully pure, no longer young, but clear mezzo-soprano - voice. Especially in the scenes Norma - Adalgisa you experience a miracle of soprano - mezzo - harmony. Ebe Stignani is also a good argument for the purchase of this recording.
Somewhat different is the situation with the Pollione by Mario Filippeschi. Although he can convincingly portray the rather simple-minded role of the Roman proconsul with a penchant for Gallic moon priestesses, singing in my opinion he is, however, too much according to the motto "The main thing, according to" get to work. A little he recalls the time - fortissimo singing Mario del Monaco, only he has not so far audrucksvolle and beautiful voice. A failure can not really call him, he has some very nice moments with Ebe Stigani and especially with the Callas. He sings alone, one must, however, live with a fairly lederhosen Romans.
Excellent busy, however, is the small role of Oroveso with the bass - baritone Nicola Rossi - Lemeni, one, as you can hear, bochbewährten Belcanto - singer who appreciates the often neglected role of the high priest considerably.
Even the Scala - Choir appears in this recording as a unit, what else is not always the case, very focused and disciplined.
For Callas - Fan this recording is already indispensable for anyone who wants to get to know this One time singer, the best possible start.