Bellini: Norma (Montserrat Caballé) Madrid 1971 Selección.

Norma: Montserrat Caballé, soprano.
Adalgisa: Magreta Elkins, mezzo.
Pollione: Robleto Merolla.
Oroveso: James Morris.
Conductor: Enrique García Asensio.
Teatro Real. Madrid. January, 30. 1971.
- Norma viene (coro)
- Sediziose voci (Norma, Oroveso, coro)
- Casta Diva (Norma, coro)
- Fine al rito, e il sacro bosco (Norma, coro)
- Sgombra è la sacra selva (Adalgisa)
- Eccola. Va, mi lascia (Pollione, Adalgisa)
- Vieni in Roma, ah! Vieni o cara (Pollione, Adalgisa)
- Adalgisa! Alma, constanza (Norma, Adalgisa)
- Oh! Rimembranza! Io fui... (Norma, Adalgisa)
- Ma dì... l'amato giovane (Norma, Adalgisa, Pollione)
- Oh! Di qual sei tu vittima (Norma, Adalgisa, Pollione)
- Perfido! -Or basti. (Norma, Adalgisa, Pollione, coro)

[@dircesantana5408]

Divina Montserrat servindo as belas músicas com sua voz única... Eterna ...

[@luisfrodrimaz]

Yo viví ese concierto, el 1 de febrero de 1971, desde una platea cerca del escenario. ¡Prodigioso! Además, después del concierto pude saludar a Montserrat en su camerino. Intercambiamos unas palabras; fue muy afable y cordial y me firmó una foto suya. Yo era tan sólo un estudiante. Inolvidable. Es una de las más grandes cantantes de la historia con algunas cualidades únicas e insuperables. La recordaré para siempre.

[@antoniopedrolisboa]

Mucha suerte 😭😭

[@judyjones2475]

WOWWWWW, the most beautiful voice ever 😍 💜

[@murrayaronson3753]

A young James Morris at the beginning of his career and he's still singing.

[@astridgunkel2230]

Unmistakably the voice from Montserrat🎼🎵🎶👏👏👏👏👏👏👏

[@lynnefisher4167]

Some of you don’t half get yourselves in a twist. I watched it and I loved it. She was truly wonderful.

[@luisnorbertogomez2328]

unica la mejor sin dudas

[@luismontecinos9916]

Caballe in one of her best roles NORMA. Thanks for having posted it. From Santiago of Chile November 2015

[@mugrad25]

Her hair was laid

[@judyjones2475]

Somer more information on this please 🥰

[@jean-claudecalise7470]

Vous êtes bien difficiles, guys !!!

[@debbiejohnson2789]

Is that joan sutherland singing with Montserrat?

[@GeorgiNM]

Apparently the tape of the rest of the performance was repurposed for further use. Oy vey.

[@Lellobeetle]

Oh Lord...what the hell was someone thinking...

[@Luifernal6]

-Roberto- No, es Robleto

[@Lorenzo-be1nm]

I don't get it... this is not very good... too many very important musical elements are being completely neglected ...just one little example: "dal druidico delumbro ahahahahahahahahahahahahahaoce..." and that happens throughout the rest... already in those early years, the lazy articulation and the little attention to the vocalizes and little notes....and the very little regard for the score, and what is that verista scream at the end of "oh non tremare"!! ....Some beautiful pianissimi, and some (only some) high notes are all right, but it is not enough to BE Norma, and for heavens sake, one is suppose to SING WHAT Bellini WROTE!!!... what a pity, because the voice is beautiful and the capacity to sing well and long is also there, but, in my opinion, this is a very lazy performance by a very good singer...

[@bonkerss2073]

Lorenzo it’s okay that YOU don’t get it....we all love it;)

[@petercallahan7321]

I'm with you Lorenzo. I find it unbelievably ironic that you tubers who arrogate authority to themselves have no problem shitting on the singers of today and bitching about directors ostensibly desecrating masterpieces yet will bend over backwards to defend a singer like Caballe who, regardless of how astounding her natural endowment was (and I think it's arguable she had one of the most beautiful voices on record), most certainly does not honor the composers intentions, unless one assumes that Bellini would have been fine with his lead singer abandoning the text to sing a piano that makes no dramatic sense, making up her own rythms and dynamic markings as she goes along, and unable to meet the coloratura demands (just about every run or turn that is written in the score is either smeared or simplified, and there's no trill). Coloratura ability isn't a matter of opinion and words on a page are not subjective, they're fact. It's one thing to say "oh I love her voice in this music" and another thing entirely to state outright that this is somehow the best interpretation of Norma when, really, what's coming out of her throat is basically an approximation of what's actually written on the page (which once again, isn't some kind of subjective point of view, people who would bother to get to the know the scores of the music they praise Caballe in could simply crack it open and see how many mistakes she makes and how indifferent she is to what's on the page). If any singer today were to come on to do to an opera what Caballe did to say, Ariadne at the met, posters on here would be bitching about the singers of today and the poor standards we have. Yet when a singer of the "golden age" does it, apparently that's fine and dandy.

[@clivepapayanis3121]

Have to agree. Why post a sub-standard performance. When she was on ...well she was really ON. And she often was Norma as good as Norma gets...SAW IT.. maybe a stage rather than a concert hall does better for her... though my parents saw her breakthrough Lucretzia in NY and made me a great fan virtue their accolades. But THIS? Bad day for one of the best.

[@jenniferservigna2896]

Perhaps the friend Lorenzo is right about his technical objections and others, but I think what he does not understand is that beyond the technique and the strict adherence to the text, it is what makes the audience feel, THAT IF IT IS ENOUGH TO BE NORMA, YES IT IS, WHY IT IS CAPABLE OF ARRIVING TO THE SOUL AND THAT IS EXACTLY WHAT BELLINI EXPECTED FROM HIS WORK. TOUCH THE SOUL OF WHO LISTENS P.D: Peter Callahan THE SINGERS OF NOW, IT IS POSSIBLE THAT THEY HAVE THE TECHNIQUE AND THE VOCAL CAPACITY, BUT I THINK THEY DO NOT HAVE THE ABILITY TO FEEL THEM UNTIL THE TEARS. SHE HAD IT

[@debbiejohnson2789]

Clive Papayanis, You saved the day. I love your comment!