CD Review: Prima Classic’s 'Norma'

Few operas are as closely associated with Maria Callas as “Norma.” As a pioneering figure of 20th-century Neoclassicism, Callas revitalised the opera, stripping away Romantic mannerisms and delivering a portrayal of tragic grandeur that seemed as if it were crafted by Jean Racine himself.

Callas’s influence has been wide-ranging. While Bel canto experts like Joan Sutherland have delivered memorable interpretations of the Druid priestess, recent performances have been marked by the Latvian Marina Rebeka. Rebeka’s portrayal, including her appearance in the Met’s 2017 run of the Bellinian classic, transforms the notoriously challenging score into a dynamic and vocally brilliant performance.

Rebeka’s portrayal of Norma is nothing short of spectacular. In outstanding form, she navigates the role’s many challenges with an intensity that sets her apart, presenting a character who feels more like a dramatic forerunner to Verdi’s heroines, such as Odabella and possibly even Abigaille.

Editorial adjustments, though minor, enhance the sense of Rebeka’s dynamic performance. For instance, “Casta Diva” is performed in G major rather than the traditional F major, a change noted by Roger Parker in the booklet. This adjustment reflects Rebeka’s vocal strengths, particularly her ability to handle the part’s demanding leaps into the higher registers, although it does not fully accommodate the intricate coloraturas of virtuoso singers.

As a result, the shading in her performance lacks the nuance of Callas’s interpretation. The appeal of her preghiera lies more in the graceful flow of her line than in the varied colours of individual syllables. Nonetheless, her subtle dynamic shifts and the beautifully sustained diminuendo during the cadenza are truly exceptional.

Rebeka’s timbre is richly expressive and more distinctive compared to a few years ago, when her performances, such as in Prima Classic’s recording of “La Traviata,” sometimes featured unstable pitch. In “Norma,” her voice is cohesive and well-controlled, with high notes delivered effortlessly (“Casta Diva”) or powerfully struck in the tercet of “Vanne, si, mi lascia, indegno.”