Who loves Cecilia Bartoli, will probably love her Norma. Her eyes sparkle, she rolls her ‘R’s, breathes the piani, and tackles the coloratura easily. Her stage début in Norma wants to get rid of the existing performance tradition; to free interpreters from the shadow of Maria Callas. Bartoli’s Norma is a celebration of her own personal style: somewhat mannered, but perfect, and always unmistakable.
says Bayerischer Rundfunk.
However Deutschlandradio wanted to boo; not the performers or the production team, but the audience who annoyed with falling handbags, cell-phones and inappropriate hysterical cries of “bravo!”. However, they too cry “bravo” in their review,
Cecilia Bartoli is, at the beginning of Bellini’s Norma in Salzburg, below her potential, but then her musicianship shows through… After the interval Bartoli was totally convincing, and her coloratura fireworks fit perfectly, but paramount was her interpretation of the role, which offered something special, very different from Callas (and her countless successors): a spirituality in the bel canto with innumerable shades and colours.… [continue reading]