It's nice that EMI has given this 1952 performance a legitimate presentation. At the time of this live performance,
Callas was not yet thirty, vocally spectacular, and on the verge of the most spectacular operatic career of the century. The Callas heard here is the heavy-set woman of the early 1950's, with a full dramatic soprano capable of negotiating the most intricate coloratura. Her Norma at this point had yet to acquire the subtle nuances of later (and less vocally reliable) years, but there is no question of the complete security of her voice. She is partnered here by the veteran mezzo Ebe Stignani, who to my ears sounds aged and matronly for the youthful role of Adalgiza (how she managed to sound so much better three years later in the RAI performance, also with Callas, is something I will always wonder about). The tenor is adequate - certainly not in the Del Monaco-Corelli class. The sound, surprisingly enough, is pretty listenable. Make no mistake, I am giving this recording five stars for Callas, and for many, that will be more than enough reason to purchase, listen, and to value this recording.

I've never heard anything more beautiful than the unisono sound of Callas and Stignani... How come Stignani isn't more famous? She's WONDERFUL! Two thumbs up!!!

I think this is a great live-recording, esp. the duet "Mira o Norma" and the final scene are very beautiful. I like it more than Callas'studio-Normas... I'd recommend it!

I've done a project which consisted interviewing opera-experts in 13 countries, it contained the question "Which Norma springs to mind immediately?" Of over 150 people asked 134 said "CALLAS!", 8 said "PONSELLE!" five said "SUTHERLAND!" and three said "MILANOV!". When asked for further explainations it was said that Callas put a stamp on this role that will never vanish. Edita Gruberova mentioned her nervousness when it comes to tackling Norma because this role "belongs" to Callas. Caballe voiced similar fear and worked with Callas on the role. (Caballe said that Callas was the sweetest, most precious advisor she ever had) Callas then gave Caballe the earrings she had worn during her greatest performance of Norma, the La Scala opening in 1955. (A live-recording is available) Here we can hear how right such titans as Caballe and Gruberova are. Callas owns the role of Norma. Critics, colleagues and a faithful audience (It's now 30 years ago that Callas sang her last Norma) prove it. This Norma is essential. In Gui this set has one of the greatest Bellinian conductors, much better than Muti, Levine or Bonygne who also conducted Norma-recordings.

~Estelle

Norma had not been sung at Covent Garden since Rosa Ponselle's glorious performances until Callas arrived in 1952 and triumphed incredibly. Joan Sutherland, later to be a great Norma and the sweet Clothilde on this set, describes how she stayed close to the stage to listen to the "incredible beauty of Maria's and Ebe's singing". Sills said she took Callas' singing as a role-model for her own Norma, as did Caballe and Sutherland. (They all said it, it can be read and heard in many sources) Sills adored Callas so much that she said "I'd rather have five years of Maria instead of twenty of myself". Of course she would never have done that but it's a sweet, respectful gesture towards the older colleague and inspiration. This Norma will take your breath away. If Joan Sutherland was satisfied, then you will be too!