Adalgisa’s gorgeous duets with Norma, where Jo’s lighter and slimmer voice seems to fold into the center of Bartoli’s as a honeybee would merge into the center of a fragrant flower, are a distinct high point of the recording. Bartoli studied manuscripts of ornamentation from singers who were taught by Pasta before formulating her own.Īdhering to Bellini’s casting preferences, Adalgisa is a soprano, Sumi Jo, rather than a heavy-voiced mezzo. Both women might be considered mezzo-sopranos by today’s standards. While Bartoli came to Norma through her research on the singer Maria Malibran, whom Bellini adored, much of her inspiration for embellishment came from Bellini’s chosen Norma, Giuditta Pasta. This translates into a faster and lower sounding Norma than we’re accustomed to hearing. Tuning is 430 rather than the more brilliant, modern 440, and dynamics and phrasing reputed to be Bellini’s. Using a new critical edition that Maurizio Biondi & Riccardo Minasi compiled from Bellini’s autograph score, Bartoli and period instrument Orchestra La Scintilla adhere to Bellini’s original keys and tempos. 1 from 1964), Callas (many to choose from), and Caballé (unmissable as Norma in the live-from-L’Orange DVD, and equally exquisite as Adalgisa in Sutherland 2), Bartoli’s Norma is a force to be reckoned with. Radically different in conception and execution from the famous recordings by Sutherland (No. Released on June 11 in CD and two download formats, high-resolution (on HDTracks) and “Mastered for iTunes,” this Norma is the culmination of the great mezzo’s latest research.
Cecilia Bartoli’s jaw-dropping account of Vincenzo Bellini's 1831 opera Norma is just as important as the great recordings of your masterpieces. Move over, Wagner, Verdi, Britten, Gesualdo, George Lloyd, Stravinsky’s The Rite of Spring, and other centenary celebrants.
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