Public Abstract First Name:Meghan Middle Name:J Last Name:Walsh

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Public Abstract First Name:Meghan Middle Name:J Last Name:Walsh Adviser's First Name:Michael Adviser's Last Name:Budds Co-Adviser's First Name: Co-Adviser's Last Name: Graduation Term:SP 2016 Department:Music Degree:MA Title:Bellini's Norma: A Comparative Study of Significant Leading Ladies from Pasta to Callas In the rich tradition of bel canto opera the surviving details surrounding the performances of the leading role from Norma (1831) of Vincenzo Bellini (1801-1835) provide ample basis for a comparison of seven celebrated divas: Giuditta Pasta (1797-1865), Maria Malibran (1808-1836), Giulia Grisi (1811-1869), Thérèse Tietjens (1831-1877), Lilli Lehmann (1848-1929), Rosa Ponselle (1897-1981), and Maria Callas (1923-1977). The bel canto style is considered by many scholars and performers to be one of the most difficult to perfect, with this opera recognized as the zenith of any soprano’s repertory, and yet all seven of these women reigned as the consummate Norma in their time. This study comprises of a chronological comparison of the interpretations of each new genera-tion in order to determine if and how the role of Norma has varied over time. Many singers took on the part prior to Callas, and yet few were praised as frequently and regarded as highly as these leading ladies. Various criticisms have been brought together in this discussion in an effort to create a concrete idea of what these women would have looked and sounded like when singing Norma. The omission of certain bel canto characteristics in the renditions of the late nineteenth and early twentieth centuries supports the assertion that Maria Callas was instrumental in reviving this operatic tradition in the 1950s..

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30 Years B a R Toli Dec
EA 0 Y RS 3 Includes B duet with A Cecilia A R Bartoli C T O E C LI D 1 MANUEL GARCÍA 1775–1832 Timing Page 1 Hernando desventurado… Cara gitana del alma mia* 8.30 66 El gitano por amor (Hernando) 2 Yo que soy contrabandista 2.25 68 El poeta calculista (El Poeta) GIOACHINO ROSSINI 1792–1868 3 Sì, ritrovarla io giuro 5.56 70 La Cenerentola (Ramiro) MANUEL GARCÍA 4 Mais que vois-je? Une lyre…Vous dont l’image toujours chère* 6.28 72 La Mort du Tasse (Le Tasse) NICCOLÒ ZINGARELLI 1752–1837 5 Più dubitar mi fan questi suoi detti… Là dai regni dell’ombre, e di morte 4.00 74 Giulietta e Romeo (Everardo) GIOACHINO ROSSINI 6 Principessa, sei tu!… Amor… (Possente nome!) 14.27 76 Armida (Rinaldo) with Cecilia Bartoli (Armida) MANUEL GARCÍA 7 Dieu!… pour venger un père, faut-il devenir assassin? … Ô ciel ! de ma juste furie comment réprimer le transport?* 4.26 86 Florestan ou Le Conseil des dix (Noradin) GIOACHINO ROSSINI 8 Cessa di più resistere 7.57 88 Il barbiere di Siviglia (Il Conte d’Almaviva) MANUEL GARCÍA 9 Formaré mi plan con cuidado 9.51 90 El poeta calculista (El Poeta) GIOACHINO ROSSINI bu S’ella mi è ognor fedele… Qual sarà mai la gioia 7.15 94 Ricciardo e Zoraide (Ricciardo) *World Premiere Recordings JAVIER CAMARENA Tenor CECILIA BARTOLI Mezzo-soprano 6 Les Musiciens du Prince — Monaco Gianluca Capuano 2 3 MENTORED BY BARTOLI Cecilia Bartoli – Music Foundation “Innovation from tradition” The name Cecilia Bartoli stands for breaking new ground, for innovation from tradition, for the revival of forgotten music.
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