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Looking for recommendations for a La Sonnambula CD

24K views 95 replies 16 participants last post by  MAS 
#1 · (Edited)
I have 3 CDs of La Sonnambula and one DVD with the following Aminas:

Luba Orgonasova
Mariella Devia
Maria Callas (1957 Live)
Eva Mei on DVD (wish this were on a CD also)

So I am looking at the Sutherland Pavarotti La Sonnambula and like it a lot, but people are saying Sutherland sings better on one from the early 1960s. I checked one of those out and it did not seem to have as good of sound quality, so I am leaning towards the one with Pavarotti which I believe is about 1980. Also the price is much better.

I might be open to other Aminas too, but was kind of drawn back to this opera because of Sutherland.

Oh, I suppose Bartoli would be an interesting Amina, though I thought Amina was supposed to be a soprano.
 
#3 ·
That one will set me back $30. Can't justify it at that price, but can keep it on my radar.

Seems there are several different Sutherland Sonnambulas other than the Pavarotti one (are any of these good?):

 
#6 ·
With Sutherland you get mushy diction and droopy portamenti in the 1960s one. She is slightly more energised in the second one, though her diction is still not great, and the rest of the cast is better, but she now sounds a trifle mature. Swings and roundabouts I suppose.

The role of Amina was written for a soprano (Giuditta Pasta, who was also the first Norma), but Bellini made downward transpositions for Maria Malibran, who was his favourite singer and probably more of a mezzo. This is the version Bartoli sings, but she doesn't sound remotely right to me. Altogether too vibrant, and those aspirated runs bother me a lot. Von Stade sang this version at Covent Garden once. Too bad she didn't record it. I'd have thought she'd have been ideal.
 
#10 ·
Actually, both Giuditta Pasta and Maria Malibran were considered as 'soprano sfogato', a voice that was able to manage the low notes in a way similar to a mezzo, or even an alto, but retained the high notes and the agility of a bona-fide soprano.

The only source of "La Sonnambula" that can be attributed to Bellini, is the original manuscript of the Milan premiere, sang by Pasta and Rubini. The so-called Malibran version was probably written by Malibran herself, of by Henry Bishop.

Amina, instead of by Pasta or Malibran, was being sung in the 20th century by very light sopranos, until Maria Callas rescued the role. The Amina that Callas sang with Bernstein is in my view nothing short of a prodigy.
 
#11 ·
Actually, both Giuditta Pasta and Maria Malibran were considered as 'soprano sfogato', a voice that was able to manage the low notes in a way similar to a mezzo, or even an alto, but retained the high notes and the agility of a bona-fide soprano.

The only source of "La Sonnambula" that can be attributed to Bellini, is the original manuscript of the Milan premiere, sang by Pasta and Rubini. The so-called Malibran version was probably written by Malibran herself, of by Henry Bishop.

Amina, instead of by Pasta or Malibran, was being sung in the 20th century by very light sopranos, until Maria Callas rescued the role. The Amina that Callas sang with Bernstein is in my view nothing short of a prodigy.
You're no doubt right about Malibran creating her own versions, but everything I have read suggests to me that Malibran's voice lay lower than Pasta's, hence the Malibran version of Maria Stuarda, which gives the role of Maria to a mezzo and that of Elisabetta to a soprano. Baker and Di Donato sing the Malibran version, whilst Sutherland, Caballe and Gruberova would sing it in the higher keys (with a mezzo Elizabetta). (I am not, by the way suggesting that Pasta sang Maria, she did not).

That said there is little doubt that Pasta sang Norma in higher keys than Malibran, hence the keys used on Bartoli's recent recording.

But, as you say, Amina came to be sung by very light voiced (soubrettish even) sopranos in the 20th century, whilst Norma went to large voiced dramatic sopranos who didn't have the necessary agility (Ponselle always excepted of course).

Unfortunately we now seem to have gone back to thinking that Amina should be sung by light, high coloraturas, some even opining that Callas's voice was too heavy and that she had no right to be singing it, until we point out that it was written for Pasta, the creator of Norma. That fact always takes them aback.
 
#29 ·
I wish there was a Anna Moffo studio Sonnambula, I have heard live tracks and she is very capable Amina......
This has one track from La Sonnambula. Might be worth getting. I watched her La Serva Padrona on You Tube and she sings very beautifully. I heard that she pushed her voice later in her career and ruined it though.

1. La Boheme: Quando m'en vo' (Musetta's Waltz Song) - Anna Moffo/Rolando Panerai/Carlo Badioli/Maria Callas/Giuseppe di Stefano/Manuel Spatafora...
2. Le Nozze di Figaro: Voi che sapete
3. Le Nozze di Figaro: Non so piu
4. Don Giovanni: Vedrai, carino
5. Die Zauberflote: Ach, ich fuhl's
6. Cosi fan tutte: In uomini, in soldati
7. Exsultate, jubilate, K.165: Allelujah
8. Lucia di Lammermoor: Il dolce suono... Ardon gl'incensi (Mad Scene)
9. Il Barbiere di Siviglia: Una voce poco fa
10. I Puritani: Qui la voce... Vien, diletto
11. La Sonnambula: Ah! non credea mirarti... Ah! non giunge
12. Rigoletto: Gualtier Malde... Caro nome
13. La Traviata: E strano... Ah, fors' e lui... Sempre libera
 
#14 ·
Well, it's clear we most probably will never know for certain, but I doubt that Malibran sang "Norma" in different (and lower) keys than Pasta. Please remember that the great triumph of Malibran singing the Norma at La Scala, was attended by none other than Bellini himself. And he has only praise for the singer ("from now on, anything that Malibran would wish, Bellini will do)". Not likely that she was transposing down the role, taking into account that Bellini has already done that for Pasta herself, at the premiere, arranging 'Casta Diva' to be sung in F major, instead of G major!. I have a hard time figuring Malibran singing this elegiac piece in E major... :)

To make full justice to the role of Amina, we need in my view a voice like Callas, or like Sutherland. Light voices will never produce the same effect, the one Bellini was looking for. Unfortunately, when we have singers like Ms. Bartoli claiming that she is singing the "real" Amina, this can only produce confusion into the minds of many people in the audience.
 
#15 ·
Well I am more inclined to get the studio Callas CD than the remaster. The live version I have is not that bad really, and after listing to it last night I gained a much better appreciation of it.

I do think a Sutherland Sonnambula would be a good addition to my collection, but am still inclined to the Pavarotti performance for sound quality, though apparently Sutherland is having to reach to hit the high notes. An well, maybe not get any Sutherland Sonnambula as I have her wonderful voice on my Daughter of the Regiment (with Pavarotti) and that is an excellent performance. Also she sings one part of Sonnambula on the CD I just purchased "The Art of the Prima Donna" which was recorded in 1960 at the Royal Opera House, Covenant Garden. The sound quality on that is pretty good.
 
#16 ·
Well I am more inclined to get the studio Callas CD than the remaster. The live version I have is not that bad really, and after listing to it last night I gained a much better appreciation of it.
I'm not sure what you mean here. If you want to get the Callas studio version then it sounds much better in the Warner re-master than in the Callas Edition one you posted. The Callas Edition issues are generally inferior to anything that went before and to the Warner re-masters that came later. Itullian posted the studio set with the cover from the first CD issue, which is also good, I believe.
 
#17 · (Edited)
I misunderstood. I thought the remaster was of the live performance.

So the green and black cover edition you posted is the studio remaster and better than the black cover I posted? Okay, that is very good info to know. If I am going for sound quality then should shoot for the very best. And this would be good so I can drink in the full impact of Maria Callas' voice both live and in studio.

The other option for me, since I have a Callas Sonnambula, is to get a CD of Callas singing a variety of arias. Any recommendations for that would be appreciated too. Again, great sound quality being an important factor.

Thanks!
 
#18 ·
I misunderstood. I thought the remaster was of the live performance.

So the green and black cover edition you posted is the studio remaster and better than the black cover I posted? Okay, that is very good info to know. If I am going for sound quality then should shoot for the very best. And this would be good so I can drink in the full impact of Maria Callas' voice both live and in studio.

The other option for me, since I have a Callas Sonnambula, is to get a CD of Callas singing a variety of arias. Any recommendations for that would be appreciated too. Again, great sound quality being an important factor.

Thanks!


One of the greatest recital discs ever recorded (that is no exaggeration).



No other singer comes within a mile of her Lady Macbeth



A little later, and vocal deterioration is a little more advanced, but musical genius remains undimmed.



Recorded to show of her versatility, which it most assuredly does.



Callas at her vocal peak - the Mad Scene from I Puritani is beyond brilliant.
 
#20 ·
I will be checking these four CDs out on allmusic to hear clips and then consider which to buy and/or to buy the remastered studio Sonnambula. Ah, so many decisions. I figure if my goal (pseudo New Year's Resolution) is to spend only 1/4 as much on CDs in 2015 as in 2014 or about $21 per month, then like the alcoholic who goes on one last bender before the new year where he has resolved to keep it down to 2 drinks per day, so I have to grab a couple more CDs before the new year! :D

Ah well, it's only money, eh? And chances are it will be worth less tomorrow than it is today (in fact economics and the time value of money say so). Therefore may as well invest in something of lasting beauty.
 
#21 ·
With the holiday rush, I totally forgot about this thread and the recommendations above. Today I made a quick trip to Dearborn Music and was holding a Cecilia Bartoli CD when I spied a section on Maria Callas. I sorted through about 10 used Callas CDs (including the Mad Scenes one posted above) and pulled out Maria Callas Live in Paris 1958. It looked like a treausre. I walked over to the CD players and listened to about 5 seconds of Maria in the first track and knew I was going to buy it. Being in a hurry, I tossed the Bartoli CD back (I already have a Bardoli aria CD and here Cenerentola anyway), and bought the Callas CD. I am pleased to say it is astoundingly beautiful. What an amazing voice! Thanks for turning me on to Callas.

 
#23 ·
Thanks for the recommendation. I think it is this one on You Tube. I can pick up a used copy for $5-6 but my listening time if limied (still have to watch that second disc of Meistersinger that I bought a couple months+ ago).

I am curious whether any of my favorite operas are out with Maria Callas on DVD (I doubt it but will ask anyway):

Fidelio, Cenerentola, Sonnambula, La Fille du Regiment, Martha, and La Serva Padrona.
 
#24 · (Edited)
The only DVD of Callas performing in staged opera (as opposed to in concert) are two different versions of Act II of Tosca. The one from Paris noted above, and a Covent Garden performance of 1964. Though her voice is in decline, the performance is electrifying, the rapport between her and Gobbi mesmerising. Operatic acting and singing of the highest order.



Callas never sang Cenerentola, La Fille du Regiment, Martha or La Serva Padrona, though she recorded arias from Cenerentola and La Fille du Regiment. She only sang Fidelio once, and that was in Greece (and in Greek) before her international career took off.

As you know she sang the role of Amina many times, but again there is no film of her singing the role. She did however, late in her career, sing Amina's Oh se una volta and Ah non credea on TV in France. Her voice is threadbare and thin, and she has to tread carefully and she is dressed elegantly and beautifully coiffed. Without the aid of costume or scenery, though, she somehow transforms herself into the sad, pathetic young girl Amina, all without hardly moving a muscle. I know of very few artists (actors or singers) who can do this seemingly at will.

 
#25 ·
I'm surprised no-one (on this thread) has urged you to go for the Callas 'live' set from Koln. I picked this up from a charity shop last week for 99p (hahaha!) and it is thrilling throughout.

Second 'Best Buy' is the Callas 'live' recording on Testament from Edinburgh - I think this has the edge on the Koln set for the atmosphere of the recording, but the Koln recording is (probably) better from Callas in many places

After that, I'd go for the Callas versions mentioned by Greg .... and steer clear of Sutherland for this role entirely
 
#26 ·
That's because Florestan already has the live Koln recording. We'd discussed this in an earlier post.

I'd agree that the Koln performance represents Callas at her best in the role. I prefer it even to the thrilling 1955 version from La Scala with Bernstein.

The Edinburgh I find rather disappointing. The sound is better than either Koln 1957 and La Scala 1955, but she was in poor health and it often shows. I find the studio performance, which obviously has the best sound of the lot, preferable.
 
#31 ·
Moffo had a lovely voice and manner in her early career, and I do like her very much. I particularly enjoy her recording of Verdi's Luisa Miller and her Susanna in Giulini's Le Nozze di Figaro. She is a charming Nanetta on the Karajan Falstaff and a welcome change from the usual soubrette as Musetta on Callas's La Boheme.

However I don't know the above performance of La Sonnambula. I am sure she sings it very beautifully, but I wonder if the roles deeper significance might elude her. I find that she tends to skate over the emotional content of a role like Violetta. The notes are there, but the deeper meaning is not.
 
#32 ·
I searched all evening and found several nice Sonnambulas including this one,


But ended up falling for this one,

with this fine soprano,


The studio remastered Callas set is still on my list though.
 
#43 ·
A quick update: A few days ago I ordered the Dessay Sonnambula CD set and the Moffo Sonnambula on DVD. I don't have much desire to pick up any Sutherland, though I did get her on DVD for Anna Bolena (yet to be watched).
 
#44 ·
My recommendation for Sonnambula would be not to listen to it but that's probably not the question you are really asking here! Never saw the point of Bellini unless it is the cocktail!:) if forced to listen to it at gunpoint I would opt for the one with Joan Sutherland. It's her repertoire and she excels at the canary fancying stuff.
 
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#49 ·
If it wasn't so sad, I would laugh out loud.

Strange how someone always complains about double standards on this forum and also about so called " haters" is in fact not one hair better the the rest off the bully's .

Live must be very could on such a moral high ground
 
#51 ·
To whom is this comment directed Pugg?
 
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