Bellini: Norma

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The result [of a mezzo Norma] is creditable and often expressive, but artistically compromised...while from a purely vocal point of view it sometimes sounds a struggle. Sumi Jo has greater success... — BBC Music Magazine, August 2013, 3 out of 5 stars More…

Release Date: 10th Jun 2016
Catalogue No: 4786018
Label: Decca
Length: 2 hours 22 minutes

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20th May 2013
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August 2013

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This release includes a digital booklet

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Bellini: Norma

Work length2:22:47

$41.80

$57.00

$77.90

Michele Pertusi (Bass-Baritone), John Osborn (Tenor), Cecilia Bartoli (Mezzo-Soprano), Sumi Jo (Soprano), Reinaldo Macias (Tenor), Liliana Nikiteanu (Mezzo-Soprano)
Orchestra La Scintilla, International Chamber Vocalists
Giovanni Antonini
Recorded: 2011-04
Recording Venue: Evangelisch -reformierte Kirchgemeinde, Zurich

Sinfonia

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Act 1, Scene 1: Introduzione - "Ite sul colle, o Druidi"

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Act 1, Scene 2: "Svanir le voci!"

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Act 1, Scene 2: "Meco all’altar di Venere "

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Act 1, Scene 2: "Me protegge, me difende "

Track length2:36

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Act 1, Scene 3: "Norma viene"

Track length3:24

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Act 1, Scene 4: "Sediziose voci, voci di guerra"

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Act 1, Scene 4: "Casta Diva"

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Act 1, Scene 4: "Fine al rito"

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Act 1, Scene 4: "Ah! bello a me ritorna"

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Act 1, Scene 5: "Sgombra è la sacra selva, compiuto il rito"

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Act 1, Scene 5: "Deh! proteggimi, o Dio!"

Track length2:14

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Act 1, Scene 6: "Eccola! va, mi lascia, ragion non odo"

Track length1:27

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Act 1, Scene 6: "Va, crudele, al Dio spietato"

Track length8:25

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Act 1, Scene 7: "Vanne, e li cela entrambi"

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Act 1, Scene 8: "Adalgisa!"

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Act 1, Scene 8: "Oh! rimembranza!"

Track length3:33

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Act 1, Scene 8: "Ah! sì, fa core, e abbracciami"

Track length3:25

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Act 1, Scene 8: "Ma di’... l’amato giovane quale fra noi si noma?"..."Oh non tremare "

Track length2:46

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Act 1, Scene 9: "Oh! di qual sei tu vittima ".."Oh! qual traspare orribile".."Norma! de’ tuoi rimproveri"

Track length4:16

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Act 1, Scene 9: "Perfido! - Or basti...Vanne, sì: mi lascia, indegno "

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Act 2, Scene 1: Scena – Introduzione - "Dormono entrambi"

Track length8:40

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Act 2, Scene 3: "Mi chiami, o Norma!"

Track length2:12

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Act 2, Scene 3: "Deh! con te, con te li prendi"

Track length3:36

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Act 2, Scene 3: "Mira, o Norma"

Track length4:32

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Act 2, Scene 3: "Si, fino all’ore estreme"

Track length1:46

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Act 2, Scene 4: "Non parti?"

Track length4:19

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Act 2, Scene 5: "Guerrieri! a voi venirne"

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Act 2, Scene 5: "Ah! del Tebro al giogo indegno fremo io pure"

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Act 2, Scene 6: "Ei tornerà"

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Act 2, Scene 6: "Squilla il bronzo del Dio!"

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Act 2, Scene 7: "Guerra, guerra!"

Track length1:38

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Act 2, Scene 7: "Né compi il rito, o Norma?"

Track length3:10

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Act 2, Scene 10: "In mia man alfin tu sei".."Già mi pasco ne’ tuoi sguardi"

Track length6:10

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Act 2, Scene 10: "Dammi quel ferro"

Track length2:47

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Act 2, Scene 11: "Qual cor tradisti, qual cor perdesti"

Track length5:36

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Act 2, Scene 11: "Norma! deh! Norma, scolpati!"

Track length2:04

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Act 2, Scene 11: "Deh non volerli vittime"

Track length5:02

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About

For generations Bellini’s “Norma” has been looked at from the vantage point of the Verismo era at the beginning of the 20th century. Now Cecilia Bartoli unveils the opera’s original pre-romantic style and colour by taking Norma back to its roots.

For the first time ever the entire music is recorded with period instruments from Bellini’s time. Traditional cuts are reinstated. Keys and tonalities are put back into place and the music is executed according to Bellini’s own tempo indications.

The leading characters were selected according to Bellini’s own choice of vocal colours: Bellini wrote Norma for Giuditta Pasta, who sang many parts which today are considered mezzosoprano roles. Adalgisa was sung by Giulia Grisi, a light soprano, and Pollione by Domenico Donzelli, who had a flexible, Rossini-style tenor voice.

A new critical music edition was compiled from the autograph score and many manuscript sources.

Reviews

August 2013

The result [of a mezzo Norma] is creditable and often expressive, but artistically compromised...while from a purely vocal point of view it sometimes sounds a struggle. Sumi Jo has greater success with Adalgisa, her light, fluttery soprano nicely matching the innocence of Norma's rival...chorus and period-instrument orchestra are excellent.

July/August 2013

Despite using period instruments, the orchestra never sounds undernourished...Bartoli is, most assuredly, Bartoli, and if you are allergic to her in general, you will remain so...Yet you will hear things in her performance that will illuminate aspects of the character as never before...it is a pleasure to hear [the opera] stripped and clear.

25th July 2013

Think you know Norma? Think again...It is, in fact, the orchestra who are the biggest surprise - and in many ways the biggest asset - of the recording. ...Bartoli herself is never less than commanding in the title role...However, I was never entirely convinced that she was seeing the role from the inside...Sumi Jo, however, is a delightful Adalgisa.

20th May 2013

[Bartoli] sings Norma entirely on her own terms, without pushing her instrument to emulate any of her illustrious predecessors, and whilst listening I simply couldn’t imagine the role sung in any other way...If you don’t already have this opera on disc, this is entirely compelling in its own right; if you already own one of the older sets, it makes for a fascinating contrast.

13th June 2013

Its principal revelations lie in the orchestral sound, stark and abrasive rather than comfortingly smooth, Giovanni Antonini's urgent conducting, and, above all, in Jo's immensely touching depiction of ruined innocence.

1st June 2013

The timbres of Orchestra La Scintilla are enchanting, the chorus robust, the whole admirably paced by conductor Giovanni Antonini.

24th May 2013

Wonderfully acrobatic, Bartoli’s warm voice is neatly complemented by the silver-streaked Adalgisa of the South Korean Sumi Jo...Osborn’s evenly flowing tenor makes Pollione a plausible babe magnet, even to Druids...Rustic winds, resinous strings, tart brass and shivering percussion all add dramatic colouring to Bellini’s magnificent music...Pin back your ears and enjoy.

New York Times December 2013

I feel confident endorsing this recording of the opera, which features vibrant conducting, atmospheric playing from a period orchestra and a searching, daring performance from Cecilia Bartoli, the most adventurous major diva of our day (as well as that great rarity, a mezzo-soprano Norma).

Opera Now

Bartoli is vocally and interpretatively thrilling and her darker tones contrast with Sumi Jo’s lighter-voiced Adalgisa, (echoing Pasta and Grisi, the roles’ creators). John Osborn and Michele Pertusi are also much lighter-toned than usual as Pollione and Oroveso. This is a must-have release.”

Opera Britannia 24th May 2013

it redefines the work both in terms of sound and in appropriate casting...At the end of [her first] scene I was already convinced that Bartoli could convince as Norma on her own terms both on CD and, given the right collaborators, in the theatre...[Jo] is probably the most convincing Adalgisa of my recent experience....essential listening for any lover of bel canto.

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