There is tragedy, melancholy, pain, love, suffering, and vengeance in every phrase and in every dramatic or lyrical passage. Intuitively we understand that she is the lover, the leader, the goddess and the woman suffering. There is nothing one-dimensional about the Norma character, and Callas is uniquely capable of revealing this totality in her performance.
For more of the best in classical music, sign up to our E-Newsletter. Rosa Ponselle, for me gave the greatest singing of this aria, beating even Maria Callas whose performance I would count second.
If you add to that the esteem that Callas is held in it makes it difficult to give an opinion without attracting attacks from the Callas fan club. It also matters at which stage of their career the soprano made the recording. The recordings made by Callas towards the end of her career are not that good.
Her voice, by that stage, had lost a lot of its clarity. I think it also matters whether you are listening to a recording of a live performance or a studio recording. For me, in the latter category, Fleming is superb. Impossible to choose one over the other. Save my name, email, and website in this browser for the next time I comment.
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To change or withdraw your consent choices for LiveAbout. The dramatic coloratura soprano must have both coloratura ability and the ability to master dramatic expression with a larger vocal volume.
The first interpretation is from Maria Callas recording with the conductor Votto a live recording. Norma was the opera she sang the most. Of her approximately opera performances, 89 were dedicated to Norma. She forms the cantilena expressively and flooded, and the high B flat is beautifully sung.
There is hardly an aria in the professional world where there is such unanimous agreement as to who delivered the best interpretations as in this piece. The greatest Norma after the time of Callas was probably Joan Sutherland. She was the first to rediscover the original key and sang the aria in the one tone higher in G major. Sonya Yoncheva dared to take on the role in , after Anna Netrebko finally abstained from singing the role in a Convent Garden production.
She convinced in this difficult role. She makes this prayer a dreamy cantilena. On the one hand, the experts did not attribute her the singing technique of a Sutherlandes or Callas for the coloratura, and on the other hand, the role was too heavy for her, being a lyrical soprano.
Her qualities were the flooding tones and the high pianissimi. She sings the aria in this recording without repetition. She became famous when she replaced Maria Callas in She had to step in as Norma in Rome only two days after a Norma performance in Naples. In that month, the year-old sang this role alternately in Rome and Naples.
Probably because of overloading the voice. We also hear a recording of Leyla Gencer.
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