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Rating: 
Summary: Uneven Norma
Review: Although this performance has some merits, it is certainly not a reference video recording of Norma. It has some pluses and also big minuses. The pluses: a) Daniella Barcellona as Adalgisa, the highest star of the performance; b) Ildar Abdrazakov's Oroveso, very good indeed; c) the unusually agile tempi impressed by conductor Biondi; d) the chorus and orchestra are good; e) the duets of Adalgisa and Norma at the end of act 1 (before Pollione comes to spoil the trio). The minuses: a) worst among worst: Hoon's Pollione (awful acting, singing and diction; I wonder who did the casting; although the role is not the highest dream of a tenor's carreer, it was recorded by great tenors like Corelli, Pavarotti and Vickers in the past); b) the awful make-up including painted faces and heavy dresses that demanded additional efforts from singers; c) Anderson's poor "Casta Diva" (although some critics may think it is not the most important piece of the opera, it is a really disappointing start with the famous classic aria). Impossible not to compare her with the -really few- outstanding Normas (Ponselle, Caballe, Cerquetti, Sutherland and -of course- Callas). The result: A modern recording with the best existing sound and video technology; however, this video will not replace Caballe's (Orange Festival, 1974) and Sutherland's from the Australian Opera (end of the 70s). Recommended for Barcellona's Adalgisa.
Rating:
Summary: Uneven Norma
Review: Although this performance has some merits, it is certainly not a reference video recording of Norma. It has some pluses and also big minuses. The pluses: a) Daniella Barcellona as Adalgisa, the highest star of the performance; b) Ildar Abdrazakov's Oroveso, very good indeed; c) the unusually agile tempi impressed by conductor Biondi; d) the chorus and orchestra are good; e) the duets of Adalgisa and Norma at the end of act 1 (before Pollione comes to spoil the trio). The minuses: a) worst among worst: Hoon's Pollione (awful acting, singing and diction; I wonder who did the casting; although the role is not the highest dream of a tenor's carreer, it was recorded by great tenors like Corelli, Pavarotti and Vickers in the past); b) the awful make-up including painted faces and heavy dresses that demanded additional efforts from singers; c) Anderson's poor "Casta Diva" (although some critics may think it is not the most important piece of the opera, it is a really disappointing start with the famous classic aria). Impossible not to compare her with the -really few- outstanding Normas (Ponselle, Caballe, Cerquetti, Sutherland and -of course- Callas). The result: A modern recording with the best existing sound and video technology; however, this video will not replace Caballe's (Orange Festival, 1974) and Sutherland's from the Australian Opera (end of the 70s). Recommended for Barcellona's Adalgisa.
Rating: 
Summary: A Remarkable But Often Neglected Performance
Review: For Bellini's Norma, the majority always flocks to recordings by Maria Callas. For those old enough to remember her, they recall her live performances delivered powerfully and dramatically, hailed by many as simply the best. There were other Normas. Joan Sutherland is considered a worthy successor to Maria Callas, and in my opinion, Shirley Verrett did the role the greatest justice. Beverly Sills, a usually lighter-voice, took the role into her hands in a generally impressive performance, Montserrat Caballe sung the role to great acclaim, as did Jane Eaglen and most recently, Renee Fleming. The power-house Norma requires the diva to have a dramatic, resonant voice, tinged with lyricism and beauty for the flowing vocal lines (it is bel canto, after all). Very few sopranos tackle the challenging role. But in this DVD, previously a film, American soprano June Anderson creates opera history in this performance.June Anderson has had experience in front of the camera. She dubbed the voice for the "Queen Of The Night" in the Magic Flute sequence portrayed in the 1984 Milos Forman film, Amadeus. June Anderson has a rich, full and expressive voice, at paar with Maria Callas. She becomes Norma suitably. Bellini's greatest opera centers around the Druid priestess who has beared children from a Roman officer, Pellione (played here by an Asian tenor). When Pellione jilts Norma for the younger novice priestess, Adalgisa (mezzo soprano), Norma becomes enraged and in blind fury, attempts to kill her own children. But her nobility and humanity wins over and spares their lives. But when the Roman legions declare war on the Druids, war breaks out. Pellione is taken prisoner before Norma, who offers his freedom in exchange for his return to her. But Pellione is determined to run away with Adalgisa. Norma tells the Druids that she has committed a great sin- having loved the enemy and had his children. Her sentence is death by immolation through fire. Her sacrifice moves Pellione and he joins her in the flames.
Rating:
Summary: BLAZING
Review: Having grown up on Callas' "Norma", I've never heard or witnessed any performer (including Sutherland, Caballe, Sills or Scotto) except Maria Callas in her prime that came close to fully encompassing the requirements of that role. Subsequent perfomers that I've seen or heard, merely gave rather lackluster readings just being glad to get through it in one piece. Therefore, I purchased this DVD of "Norma" with June Anderson thinking that I would simply have a well sung, rather bland performance of this "Mount Everest" of soprano roles. After all, an opportunity to witness and hear a "Norma" does not come along too often. Further more, (although she is not appreciated, too much, here in America) I've always enjoyed the singing of June Anderson since she made her first recording substituing for Caballe in the 1980s recording of Rossini's "Moses in Egypt" on the Philips' label. I also own and enjoy many of her recordings consisting mainly of operas (and/or arias) of Donizetti and Rossini. In addition, I feel that her Met DVD of Rossini's "Semiramide" is awesome.
At the beginning of this performance of "Norma", June gives a cautious and rather tepid account of "Casta Diva" and its cabaletta--I really can't blame her, after all, she, an American, is singing the most difficult soprano role in all of Italian opera in front of a Parma Opera House audience; an audience that is known to eat and spit out non-Italian singers (they booed Callas unmercifully, at the beginning of her zenith--she never went back!). However, the audience deservedly gives the "Casta Diva" and the cabaletta a warm response; (expectedly, June, vocalizes the aria's floritura very well). After that hurdle, she and her voice warm up and by the trio that closes the first act, June Anderson is BLAZING! By the time she rounds on Pollione in "In mia man" , she has truly set the whole stage "afire". (The audience and I, by then, had been yelling our approvals over and over again!) She closes the opera with the most moving and heartfelt "Deh non Voleri vittime" that I have ever heard; it truly brought me to tears! At the end of the opera, I, as well as the audience were on our feet screaming Brava! (with the audience stomping their approval also) Not only did June, once past the "Casta" set the stage a blaze with her Norma, but she also managed to ignite the Adalgisa and Pollione.
Daniiela Barcellona sings a lush voiced Adalgisa; her duets with June are ravishing! I look forward to hearing more from her.
In the thankless role of Pollione, Shin Young Hoon starts of rather tight-voiced but by the time June is alight so is he giving a strong and resounding finish to the role.
The role of Oroveso is usually entrusted to a bass that has sung one "Boris Godunov" too many and having perhaps not too many singing days left. In this production, the part was given to Idar Abrazakov, a young man with a huge and resonate bass voice. I really feel that he has a spectacular career ahead of him!
In the past, I have always felt that the opera "Norma" contains passages that to be honest, are rather boring. Not in this performance! The conductor, Favio Biondi leads a thrilling account of the score; consequently, I was never bored!
The production is most enjoyable and the costumes are, as I feel they should be, rustic (no flowing chiffon(s) but animal skins --fake I'm sure--along with rough looking fabrics)There is one glaring exception to the aforesid and that is the horrible and most unflattering, moth-eaten wig that was given to Shin Young Hoon, as Pollione--if I had been him, I would have thrown it into the "ritual fire" ugh!
In closing, I truly feel that June Anderson's "Norma" should be more widely known--why isn't she singing this role at the Met" Based on this performance, I feel that it would have been far superior to Jane Eaglen's "Enorma" last season. For an exciting performance of Norma (once past "Casta Diva") do not hesitate to purchase this DVD. I'm sure June's performance will "blow you away" as it did me.
Rating: 
Summary: Lacklustre Norma
Review: I bought this DVD with great expectations especially from June Anderson but I suppose my expectations were too high as I've come away feeling disappointed. Casta Diva was not delivered well with a rather uneven tone and her singing throughout was also uneven with weak high notes with a slight tremolo. It does not help that the production contains a really two-dimensional tenor as Pollione! He is about as charismatic and as commanding as a piece of ply-wood! Together in the duets with June, they have successfully brought back the old tradition of 'stand and deliver' singing, which to a viewer, is as exciting and moving as watching a kettle boil. Barcellona as Adaligisa was the only performer worth watching and listening to. Impassioned and with secure tone, she essayed the duets superbly at some points even superseding Norma. Another word about Hoon as Polione, the next time you're interested in renting a horror, don't bother...just turn on this DVD...he reminds me of the zombies in 'Night of the Living Dead' avec the bad B-grade movie make-up!
Rating:
Summary: A must for NORMA fans!
Review: I love the DVDs of Caballe or Sutherland as Norma, but this one is also a must for anyone that loves this opera.
The period instrument orchestra sounds marvellous! It has such bite, clarity, and lyricism. It totally transforms the sound of this opera. The sound quality of the DVD cannot be better, and you'll want to turn up the volume! (Picture quality is just as great!) Also, the new edition (score) used in this performance has some interesting variants that one might sometimes prefer.
The singers are not as bigger-than-life or vocally superhuman as Callas, Sutherland, Caballe, Pavarotti, etc., but they give a very emotionally-involved and sincere performance. Bravi! This performance proves that interpolated high notes can be thrilling but not at all necessary! This performance moved me to tears. The singers look and act with sincerity.
Yes, June Anderson's performance in her cavatina isn't totally satisfying, but that's only a scene! She is totally convincing after that! The tenor, too, does a very decent job (both singing and acting) after his first aria. This is all very forgivable because of the anxiety they must have felt. Barcellona's Adalgisa looks lovely and sings very well throughout. The Oroveso is an excellent one as well.
I have no problem with the makeup and costume choices at all. Remember these Druids were sort of savages if they always need a "victim" for their rites! I can indeed imagine strange markings on their face and see them wearing fur. They're not that civilized, people.
I only wish there were special features of this DVD. After watching this performance I would love to know more about the singers, and opera house, the orchestra and conductor. By the way, the picture of Anderson on the cover resembles the face of Joan Sutherland!
Rating:
Summary: Strictly for fans of June Anderson Only
Review: I was very disappointed with this DVD. June was no Norma. Her recitatives were undramatic and tentative, and her singing uninspired. The Pollione by Shin Young Hoon was much worse, he has a small voice, and the two have absolutely no chemistry at all. Only Barcellona as Adalgisa and the Oroveso (can't remember his name) saved the day. The period orchestra under Biondi sounded thin, like a stage band. If you want to watch a great current DVD performance of Norma, go for Hasmik Papian's at Orange, France in 1999. It was an absolute triumph, comparable to Caballe's performance there in 1974. You can find the raving reviews of her performance in many opera discussion groups, not only in France, but also elsewhere, of Norma. That is the Norma of our decade, not June Anderson's.
Rating: 
Summary: A Very Satisfying Performance ... With One Reservation
Review: Someone was asking me questions about Opera a few years ago, and one was to identify the most memorable musical passage. That was easy: "Mira, o Norma" from Act II. Norma is a bel canto opera by Bellini, one of the greatest melodists of all time. As such, the emphasis is on melodic line and bel canto technique, rather than on plot and character. It is an opera where the rich, melodic score is nearly overwhelming in its beauty. It requires singers of stature, and in June Anderson and Daniela Barcellona, the requirements are fully met. Tenor Shin Young Hoon is less than excellent, but does an adequate job, by and large, and bass, Ildar Abdrazakov sings with richness and intensity. Norma is not an entry level opera, however; there are others more suited to that task. Norma requires a familiarity with operatic singing in general, and bel canto technique, in particular, to be enjoyed. However, that hurdle is a very low one. The picture quality is good, but a bit grainy. The sound, however has a DTS option that will have the neighbors either raving or complaining, depending on their musical tastes. A good Norma, to paraphrase, is hard to find, and this one is a very satisfying performance for the bel canto fan.
Rating:
Summary: A Very Satisfying Performance ... With One Reservation
Review: Someone was asking me questions about Opera a few years ago, and one was to identify the most memorable musical passage. That was easy: "Mira, o Norma" from Act II. Norma is a bel canto opera by Bellini, one of the greatest melodists of all time. As such, the emphasis is on melodic line and bel canto technique, rather than on plot and character. It is an opera where the rich, melodic score is nearly overwhelming in its beauty. It requires singers of stature, and in June Anderson and Daniela Barcellona, the requirements are fully met. Tenor Shin Young Hoon is less than excellent, but does an adequate job, by and large, and bass, Ildar Abdrazakov sings with richness and intensity. Norma is not an entry level opera, however; there are others more suited to that task. Norma requires a familiarity with operatic singing in general, and bel canto technique, in particular, to be enjoyed. However, that hurdle is a very low one. The picture quality is good, but a bit grainy. The sound, however has a DTS option that will have the neighbors either raving or complaining, depending on their musical tastes. A good Norma, to paraphrase, is hard to find, and this one is a very satisfying performance for the bel canto fan.
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