1. Introduction
2. Books
3. Scores
4. Recordings
5. Articles and Reviews
6. Index

Prepared for all lovers of great opera, including the serious undergraduate music student, this bibliography is structured to help its users develop and all-around appreciation of Bellini's operatic masterpiece Norma. Materials chosen include biographies of Bellini, recordings of the opera by the greatest contemporary sopranos, reviews of the recordings, articles about current stagings, copies of the score, and discussions of Bel Canto singing, the style in which Bellini was noted. In total, it is hoped that this bibliography will provide access to all aspects of the opera.

Vincenzo Bellini was born in 1801 and died, prematurely, September 23, 1835 at the age of 34. Norma was written at the peak of his career and the first performance was given in Milan on December 26, 1831. The libretto was written by Felice Romani, who collaborated with bellini on all his most successful operas. It is interesting to note that the opening of Norma was a fiasco. "In the course of the subsequent performances, however, the public began to understand the worth of this masterpiece" (New Grove, 447).

Several great interpretations of the role can be found on many recordings, ranging from Rosa Ponselle's of 1929 to Renata Scotto's of 1980. Maria Callas, considered by some to be the greatest soprano of the era, is discussed extensively throughyout the chosen materials. Norma was her signature role and she sang it over 40 times. "Bellini's Norma combines the requirements of both a coloratura and a dramatic soprano, calling for not only perfect vocal agility but intensity, stamina, and a wide range of characterizations as well. Between 1948-1965, Callas was the reigning interpreter of this taxing part" (Thomas, 109). This bibliography is limited to materials in the English language and offers biographies, recordings and reviews of Callas as they relate to her interpretation of this role.

1. The New Grove Dictionary of Music and Musicians. Stanley Sadie, ed. London: Macmillan; Washington DC: Grove's Dictionaries of Music, 1980. 20v. Volume 2, pgs. 420, 446-455.
   The New Grove's is a classic starting point for all investigations into music. It provides a good biographical sketch of Bellini including a discussion of the development of his style. In the section of the article entitled "Melody," a brief discussion of the importance of the opera Norma to his oeuvre is given. A discussion of Bellini's use of the Bel Canto style of singing is given on page 452. The rise and fall and rise of Bellini's popularity is traced. The soprano, Maria Callas, is identified as the foremost of the great singers of the modern era in interpreting Bellini's work. A separate article on page 420, under the heading "Bel Canto," introduces this particular style of operatic singing and provides good background for placing Bellini's work into context.
   
   
2. Kobbé, Gustav, Earl of Harewood, ed. The Definitive Kobbé's Opera Book. New York: G. P. Putnam, 1987. Pgs. 400-403.
   Kobbé's provides the student of opera with a complete source of opera synopses. The entry for Norma introduces us to this opera, providing a plot summary, performance history, and brief discussion of the uniquely great features of this opera. The importnat musical themes of the opera are introduced and the reader begins to understand the significance of the centerpiece aria, 'Casta Diva (Chaste Goddess)' with which Norma makes her first entrance. Maria Callas' importance to the role is discussed on page 402.
   
   
3. Cross, Milton. Milton Cross' Complete Stories of the Great Operas. New York: Doubleday and Company, 1947. Pgs. 371-376.
   Provides an excellent and detailed plot summary, helping to fix the narrative action to the story.
   
   
4. Celletti, Rudolfo. A History of Bel Canto. Oxford, England: Clarendon Press; New York: Oxford University Press, 1991.
   Celletti discusses in great detail the origins, history, and development of this style of operatic singing. Bellini's work is shown to be important in the rebirth of Bel Canto singing and Maria Callas is singled out as an example of a modern Bel Canto artist (11). The serious student of opera will find this book useful in its whole. The fan of Norma and of Callas will find useful, references cited in the index and, especially, the discussion on page 205 of Callas' unique talent and importance to the art from in the modern era.
   
   
5. Maguire, Simon. Vincenzo Bellini and the Aesthetics of Early Nineteenth-Century Italian Opera. New York: Garland Publishers, 1989.
   Originally presented as the author's doctoral dissertation, this book provides a modern look at Bellini within the context of his times, with an emphasis on the aesthetic environment in which he worked. Chapter 6 (148-190) discusses "the hertiage of the Bel Canto" and Bellini's contribution to the tradition. Examples from Norma are presented and discusses on pages 166, 173, 177. Maguire's concluding pages (188-189) help sum up Bellini's importance to the Bel Canto tradition.
   
   
6. Orrey, Leslie. Bellini. New York: Farrar, Strauss & Giroux, 1969.
   Orrey has written a historical, biographical study of Bellini's life and music, illustrated with musical notation throughout the text. The influence of Norma on Richard Wagner is discussed and a complementary contemporary review of the opera by Theophile Gautier is quoted on page 116.
   
   
7. Weinstock, Herbert. Vincenzo Bellini; His Life and His Operas. New York: Alfred A. Knopf, 1971.
   This is major biography of bellini of our time. The book is dedicated to Maria Callas, indicating her importance to the twentieth-century Bellini revival. Part I is biographical and the historical facts surrounding the writing of Norma are presented on pages 104-108. Part II treats each of Bellini's compositions individually. Norma is discussed on pages 267-293. The performance history is presented. The opera is analyzed scene by scene and its highlights and strengths are presented. This in-depth musical and plot analysis will be quite helpful to both students and fans of the opera.
   
   
8. Reid, Cornelius L. Bel Canto: Principles and Practices. New York: J. Patelson Music House, 1972.
   Pages 1-34 discuss the historical background of Bel Canto singing and describe the Bel Canto ideal from the point of view of the student or teacher of operatic singing. The discussion will both enlighten the admirer of beautiful singing and provide music students with a technical understanding of Bel Canto to underscore the study of Norma. The balance of the book is technical in nature and directed to the teacher or student of voice.
   
   
9. Galatopoulos, Stellios. Callas: La Divina; Art that Conceals Art. Elmsford, NY: London House & Maxwell, 1970.
   Pages 141-146 provide a very close, scene by scene analysis of Callas' interpretation of Norma the role with which she is most closely identified.
   
   
10. Wisneski, Henry. Maria Callas: The Art Behind the Legend. Garden City, NY: Doubleday, 1975.
    Lavishly illustrated, Wisneski chronicles all Callas' performances. Norma is featured, including several photographs taken from productions mounted at different stages of her career.
    

11. Bellini, Vincenzo. Norma: An Opera in Two Acts. New York: E.F. Kalmus, 19--.
    A standard score with full instrumentation, choral and soloist parts. This score is not annotated in any way.
    
    
12. Bellini, Vincenzo. Norma: Lyric Tragedy in Two Acts. New York: G. Schirmer, 19--.
    This version is a score with piano accompaniment. Acts and scenes are indicated in the index allowing the user to find the scene required. A one page plot synopsis is included.
    
    
13. Bellini, Vincenzo.Norma: An Opera in Two Acts, with Italian and English Words. Arthur Sullivan and J. Pittman, eds. London & New York: Boosey & Co., Ltd., 19--.
    The score features both the original Italian and an English translation of the libretto. Arthur Sullivan, the English librettist is one half of the English operetta duo, Gilbert and Sullivan.
    

With the great popularity of Norma in the 1970's and 1980's, several modern recordings were issued, featuring the greatest sopranos of the era. An early Norma, Rosa Ponselle, recorded in 1929 is included, and also an early recording of Maria Callas. The following list of recordings will provided opera students of all types with a wealth of material with which to compare modern interpretations. An added enhancement to some of the recordings are multi-page booklets which provide the libretto, in Italian and English, and a variety of background articles and illustrations which can provide a wealth of historical and production information.

The recordings are presented in chronological order for ease in following the evolution of the art and comparing recent performance to earlier versiions.

14. Rosa Ponselle as Norma and Other Famous Heroines. LP, New York: RCA Victrola, ©1970.
    Ponselle made her debut with the Metropolitan Opera in 1918 and retired in 1937. This recording features performances by Ponselle recorded 12/31/28 and 1/30/29. Jacket notes are by Tom Villella, Classical Record Reviewer for The Cleveland Press and Opera Editor for Le Grand Baton, "The numbers from Norma are justly famous and require little comment except to say that they are destined to thrill listeners for untold generations."
    
    
15. Callas, Maria, soprano. Norma: Highlights. By Vincenzo Bellini. Orchestra and Chorus of La Scala Opera House, Milan; Tullio Serafin, Conductor. Hollywood, CA: LP Angel, 1953.
    Callas' first recording of Norma, this version is crucial to understanding the impact she had upon modern opera, and the importance of the role to her career. The voice and the artistic interpretation are unlike any other artist and stand alone in modern opera.
    
    
16. Callas, Maria, soprano. Norma. By Vincenzo Bellini. Orchestra and Chorus of La Scala Opera House, Milan; Tullio Serafin, Conductor. 3 LP set, Seraphin, 1969.
    This set appears to be a full version of the same 1953 performance as that cited above. If so, it will provide the full performance by the young Callas. The accompanying booklet provides a one page plot summary and the libretto in Italian and English. There is no recording information, critical or background material provided.
    
    
17. Callas, Maria, soprano. La Scala presents NORMA by Bellini. Franco Correlli, Christa Ludwig, Nicola Zaccaria, Edda Vincenzi, Piero de Palma; conducted by Tullio Serafin. 3 LP set, Angel Records, 1961.
    A concert recording made in September 1960 at La Scala, this set includes photographs of the recording sessions, cast biographies, introductory material by Francis Toye, a synopsis and libretto in Italian and English. The libretto is illustrated with historical etchings of scenes from the story. Comparing this recording to Callas' 1953 version will show the changes in vocal quality and interpretation by the artist over time.
    
    
18. Cerquetti, Anita, soprano. NORMA, V. Bellini. Frano Corelli, Miriam Pirazzini, Guilio Nrei, Piero de Palma, Giannella Borelli, Orchestra e Coro del Tratro dell' Opera. Gabriele Santini, conductor. 2 CD set, Crema, Italy: G.O.P., 1989.
    This is a reissue of a 1958 Italian live performance recording and the libretto is in Italian only. There are no commentaries or production notes, however Cerquetti was a contemporary of Callas and the comparison between the two artists is quite interesting.
    
    
19. Sutherland, Joan, soprano. Sutherland in Bellini's NORMA. Marilyn Horne, John Alexander, Richard Cross, London Symphony Orchestra and Chorus; Richard Bonynge, conductor. 3 LP set, RCA Victor, LSC-6166, 1965.
    A concert recording made at Walthamstow Town Hall, London. The booklet includes artists' photos and biographies and an extended feature on Joan Sutherland, written by Robert Kotlowitz. Production photographs are taken from the 1963 Vancouver Opera Production, staged by Irving Guttman, the first time Sutherland sang the role. The conductor, Richard Bonynge, provided an essay, "Bellini," for the package. The synopsis is quite detailed and illustrated with historical etchings of scenes from the story. Other historical etchings and paintings related to the opera are included. The libretto is translated by Peggy Cochrane.
    
    
20. Sutherland, Joan, soprano. Bellini, NORMA. Marilyn Horne, John Alexander, Richard Cross; The London Symphony Orchestra and Chorus, Richard Bonynge, conductor. 3 LP set, London OSA1394, 1970.
    No recordings information is provided on this version and it is possible that it could be a reissue of the previously described Sutherland performance. The booklet contains an essay on Bellini and the opera by Herbert Weinstock. The synopsis is not especially detailed and there is no biographical material about the artists. Two performance photos appear to be from the same series as those which illustrated the previous Sutherland package.
    
    
21. Sills, Beverly, soprano. Vincenzo Bellini's NORMA.Shirley Verrett, Enrico di Giuseppi, Paul Plishka, John Aldis Choir, New Philharmonia Orchestra, James Levine, conductor. 3 LP set, New York: ABC Audio-Trasury ATS-20017-3, 1974.
    The booklet provides extensive artists' biographies. Program notes are by William Ashbrook, as is the libretto translation. The notes include extensive historical and critical material, illustrated with photos of early interpreters of the role. Sills' voice has a characteristic lightness which becomes apparent when compared to Sutherland and, especially, Callas.
    
    
22. Scotto, Renata, soprano. Bellini NORMA. Tatiana Troyanos, Paul Plishka, Giuseppe Giacomini, Ambrosian Opera Chorus, National Philharmonic Orchestra; James Levine, conductor. Columbia M3 35902, 1980.
    "The Sacred Fire Still Glows," an essay by Barrymore Lawrence Scherer, opens the liner notes which are extensively illustrated with historical etchings. The plot synopsis is short. The libretto, in Italian and English, is extensively illustrated with historical performance images and includes stage directions and set descriptions. Artists' photos and biographical information are included after the libretto.
    

The following are the full issues devoted to Norma:

23. V. 46, February 13, 1982, featuring Renata Scotto.
24. V. 43, March 17, 1979, featuring Shirley Verrett.
25. V. 40, February 28, 1976, featuring Montserrat Caballé.
26. V. 37, February 17, 1973, featuring Montserrat Caballé.
27. V. 35, December 19-26, 1970, featuring Joan Sutherland.
28. V. 34, April 4, 1970, featuring Joan Sutherland.
29. V. 18, March 22, 1954, featuring Zinka Milanov.

Other reviews of recordings or featured artists include:

30. Jellinek, G. "A Definitive Norma in Stereo." Hi Fi/Stereo Review. Chicago: Ziff-Davis Publishing Company. 7:60-61, December 1961. Reviews the Callas recording of 1961.
    
    
31. Kolodin, I. "Sutherland's Noble Druid." Saturday Review. New York: Saturday Review Assoc. Inc., 48:51, March 27, 1965.
    
    
32. Kolodin, I. " The Norma of Callas on LP." Saturday Review. New York: Saturday Review Assoc. Inc., 37:36, November 13, 1954.
    
    
33. Miller, P.L. "Joan Sutherland as Norma." The American Record Guide.31:604-5, March 65.
    
    
34. Snyder, L. "Beverly Sills Sings Norma in Boston." Christian Science Monitor. Boston: Christian Science publication Society, 63:4, June 16, 1971.
    
    
35. Thomas, C.J. "The Valuable Callas Reissues." Opera Quarterly. Chapel Hill, NC: University of North Carolina Press, 4:4, 108-110, Winter 1986-87. Revisits the original Callas recordings on the occasion of their re-release on CD.
    

Vincenzo Bellini and the Aesthetics of Early Nineteenth-Century Italian Opera 5
Milanov, Zinka 29
Miller, P.L. (review by) 33
Milton Cross' Complete Stories of the Great Operas 3
New Grove Dictionary of Music and Musicians 1
Opera News 23, 24, 25, 26, 27, 28, 29 (pg.8)
Opera Quaterly 35
Orrey, Leslie, Bellini 6
Ponselle, Rosa, soprano, Rosa Ponselle as Norma and Other Famous Heroines (LP 1970) 14
Reid, Cornelius L. Bel Canto: Principles and Practices 8
Santini, Gabriele 18
Saturday Review 31, 32
Scotto, Renata 23
Scotto, Renata, soprano Bellini NORMA (LP set 1980) 22
Serafin, Tullio 15, 16, 17
Sills, Beverly 34
Sills, Beverly, soprano Vincenzo Bellini's NORMA (LP set 1974) 21
Snyder, L. (review by) 34
Sutherland, Joan 19, 20, 27, 28, 30, 31
Sutherland, Joan, soprano. Sutherland in Bellini's NORMA (LP set 1965) 19
Sutherland, Joan, soprano. Bellini, NORMA (LP set 1970) 20
Thomas, C.J. (review by) 35
Verrett, Shirley 21, 24
Weinstock, Herbert, Vincenzo Bellini: His Life and His Operas 7
Wisneski, Henry Maria Callas: The Art Behind the Legend 10


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Last Updated July 15, 1997