Norma

Vincenzo Bellini

Maria Callas, Ebe Stignani, Chorus and Orchestra of La Scala (Tullio Serafin, cond.)

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A Diva at Peak

Those who don't know Norma may be surprised to recognize the hymn-like "Casta diva," Norma's first entrance in Act 1. It's the music Susan Sarandon is listening to while bathing her arms and breasts in lemon juice in an early scene of the film Atlantic City. The piece, one of the most famous tunes in all of opera, is Norma's rhapsodic description of the moon, a pagan hymn of worship. Sung here by the much-worshiped opera goddess Maria Callas, it's suffused with a particular kind of awe that sets up the story to follow, a retelling of the Medea legend casting Norma as a Druid princess in love with a Roman general. The plot, in a nutshell: Love sours, Norma threatens to kill the general's two children, tense confrontations ensue.

The achingly beautiful "Casta diva," an aria in two parts, signals what composer Vincenzo Bellini (1801–1835) has in store for his heroine: long, lavish melody lines that tremble and blossom into showcases, yet are not unduly ostentatious. The role covers tremendous dramatic territory—it's considered the Mount Everest of Italian "bel canto" opera, the style that emphasizes the beauty of the vocal line over dramatic expression. And Callas, under the direction of the conductor who was her Svengali, Tullio Serafin, takes great advantage of it, intoning her lines the way she imagines the troubled Norma would. In the liner notes, Callas explains that "Norma resembles me in a certain way. She seems very strong, very ferocious at times. Actually, she is not, even though she roars like a lion." This performance has the roar, but is more notable for Callas's depth, her ability to convey details of the character in highly personal ways.

This recording is the first of two versions featuring Callas, the jet-setting beauty who was married to Aristotle Onassis (before being dumped for Jacqueline Kennedy). It's also the best. It contains all the qualities that made Callas one of the most revered figures of twentieth-century music—her gilded and complex voice, in peak form here; her disciplined phrasing and pinpoint control of trills and grace notes; her nervous energy, which is particularly well suited to Norma's unhinged moments. Spend some time with "Casta diva" and "Ah! bello a me ritorna" to experience the kind of effortless singing that can stop you in your tracks.

Genre: Opera
Released: 1954, EMI
Key Tracks: "Casta diva," "Ah! bello a me ritorna," "Si, fino all'ore estreme"
Catalog Choice: I Puritani, Maria Callas, Chorus and Orchestra of La Scala (Tullio Serafin, cond.)
Next Stop: Gaetano Donizetti: Lucia de Lammermoor, Maria Callas, Chorus and Orchestra of La Scala (Tullio Serafin, cond.)
Book Page: 75

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Comments:

#1 from John Mangold, Toronto - 12/12/2008 9:00

Hello:
The “Buy this Recording” link points to the WRONG version of Norma, the 1960 version. In the book, the 1954 version is described and recommended. Both versions are by Serafin and Callas.
[Editor’s Note: Thank you. We’ve updated the Buy link and images to the 1954 version.]

#2 from Visitor, around - 03/24/2009 5:29

This is a golden age performance with peak Caballè and exellent singing by Vickers, Veasey and Ferrin, as well as very good orchestra and conduction. Probably this is the best Caballè‘s Norma at the peak of her unmatched possibilities: cream voice, flourished passages, endless fiati, terrific breadth span and legato, perfect agilità, but also ring,verve and convincing moving on the stage. Unforgettable!

#3 from Gary Reese, Houston - 04/07/2010 5:34

Well deserved recording to your list.

One error here: Callas was married but never to Onassis. She left her marriage with Sr. Meneghini for Onassis. Onassis might have had a child with her but he never married her.

#4 from Van-Hung Nguyen, Montreal, Qc CANADA - 10/24/2010 2:47

Funny that Tosca by Callas, Di Stefano, Gobbi (De Sabata) EMI 1953 is not included here. This is a recording by most THE recording of all the opera’s recording.

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