Search - Vincenzo Bellini, Michael Halasz, Orchestra Sinfonica di Bari :: Bellini: Norma

Casta Diva- Grace Bumbry

baritonoc | Atlanta, GA | 05/18/2005

(4 out of 5 stars)

"Norma is an opera in which I was only mildly interested in until Gala released a CD featuring a 1978 performance of Shirley Verrett singing the title role (which by the way is simply stunning). This recent CD release of the opera Lilli Lehmann suggests is a "sopranos worst nightmare", shows that only the smartest of the smart can sing this role and sing it well. Madame Bumbry is among the smartest of the smart! When discussing Grace Bumbry, one often hears "she sang soprano roles with only modest success," or, "she sings both Mezzo roles and Soprano roles, but less successful are her attempts as a soprano." Absolute nonsense! Here is a recording that shows Ms. Bumbry at the height of her vocal powers. Her singing is clear, vibrant, ringing yet warm, and quite nearly everything it should be for an opera of this level. I must say that her coloratura is not as flexible as it should be, but if one can overlook a few moments of muddy coloratura this will be a CD sure to please.

I would be remiss if I did not mention the strong supporting cast members which include Giuseppe Giacomini and Lella Cuberli who sing quite well. At times, Ms. Cuberli's Adalgisa does not seem to quite measure up to Ms. Bumbry's Norma, for Ms. Bumbry is one who was able to summon up a significant amount of voice for any of the roles she tackled and seemed very much so at ease doing so in this fiery interpretation of Norma. Overall- 2 thumbs up!"

Normas On My List: Grace Bumbry's Passionate

Rudy Avila | Lennox, Ca United States | 08/10/2005

(5 out of 5 stars)

"I recently added this fine recording to my list of Normas. Grace Bumbry, who started her operatic "life" as a mezzo soprano switched to dramatic soprano and experienced an impressive career. As Norma, she's passionate, womanly, imperious, and deeply emotional even intense. To heck with critics who insist that this was a role not suited for her. She certainly proved them wrong many times. Bumbry also sang Tosca several times at the Met (even opposite Franco Corelli, Tito Gobbi and Cornel1 McNeil) her voice did have the right dramatic flair, and a sultry deep register to boot. Her Norma is one of the more colorful ones out there. Further, her performance as Norma coincided with Shirley Verrett's Tosca, and both do a fine job. Both were also the first women of color to remarkably take on a "white" role. Norma is a Druid from Gaul and in the past mostly white/European singers took on the role- Zinka Milanov, Gina Cigna, Rosa Ponselle (with the exception of the Greek, exotic Maria Callas and Turkish Leyla Gencer). Naturally, Callas is considered the top interpretor of Norma, having sung the role the most number of times and made it a signature role in the 50's.



A hardcore operaphile would not be satisfied with owning just one recorded opera and often get several recordings of the same opera with different singers, singers the opera lover greatly admires. After extensive searches, I own what I consider the finest Toscas - Leontyne Price, Birgit Nilsson, Raina Kabaivanska, Galina Vishevskaya and Katia Ricciarelli. Bellini's Norma is another such opera I enjoy hearing different singers' interpretations. Bellini's Norma is a diva role if there ever was one- a woman who has a broad palette of emotions throughout the opera from a woman secretly in love, the religious leader of her people as Druid priestess, jealous of her younger protege Adalgisa who has captured the heart of her Roman lover Pellione, a bit crazed as she contemplates killing her children but doesn't, and noble and resigned to her fate in the end when she assumes responsibility for her transgression - as priestess she cannot love a man much less have his kids, and walks into the burning pyre.



All these dramatic feelings are conveyed in Grace Bumbry's soaring performance. There are a few moments when some of the more declamatory lines and rough parts seem to overwhelm her but she is still very impressive and regal. She's very regal in fact, that I have not heard anything like it coming from any other soprano who tend to make her distant and icy. She's feminine in her portrayal, with a dignity all her own. This is an entirely different Grace Bumbry as you are likely to hear. Her Casta Diva is the most sensuous version I've heard, almost akin to the Liebestod in Wagner's Trisan and Isolde, which Im sure she could have sung perfectly had she opted to. "En mia mano al fin tu sei" is also very good in Bumbry's hands. This recording dates from 1977 and finds Bumbry in fine, experienced voice."

A Beautiful and Noble Norma!

Impostazione | New York City Area | 03/19/2005

(5 out of 5 stars)

"For any who would not consider Bumbry a true soprano must listen to this. Except for a few places she delivers in an astonishingly beautiful way, in fact, beauty is why this CD stands out. I certainly have never heard Bumbry more sensitive, well phrased, and easy voiced. Her coloratura is excellent and her entrance "Sedioze voci" is an outright imposition of invocation! Her pianissimi spin and echo like those of Leyla Gencer. Superb! Still, I do not know of a soprano in history who had a middle voice so full and deep sounding.



Cuberli is in light voice and Giacomini sings well, if not memorably.



The orchestra is dainty and clear, almost bouncy. I assume just as Bellini would have had it.



It's worth your money!"