DVD Videos

5 star BBC Music Magazine (March 2003)

“Here in Orange, France, on a windswept, night in 1974, they had greatness itself. Pierre Jourdan's film of the event is a priceless document, first of all, in the history of the opera. Stage-settings of Norma are usually hopeless: an offence to the eye, a chafing confutation of the spirit by gross matter. The ancient Roman amphitheatre is at any rate worthy and appropriate, and the Mistral, which threatened to close down the whole show and turn away an audience estimated at 10,000, adds a fine reminder of the power of Nature as it sets the druidical robes billowing and attacks the microphones.
The vastness of the stage provides a further challenge to the man in charge, and although conductor Giuseppe Patanè's star is somewhat eclipsed in the general view of things, he deserves congratulation for two contrary achievements – holding the ensemble together and giving the soloists freedom. But it's their night, and particularly Caballé's. She called it the greatest single performance of her career.
In certain passages it's hard to think of any voice we've known that could sound more lovely; but, more than that, the great role is sung and acted with such well-founded assurance that for once it fulfils its own legend, the embodiment of musical-dramatic sublimity in 19th-century opera. Of the others in the cast it must for now suffice to say that they're worthy partners.” Gramophone Classical Music Guide, 2010

“...Sutherland was superb, singing with that breathtaking assurance and jewel-like brilliance that has made her so outstanding in the world of opera today.” Canberra Times

“[Pavarotti] proved...that this is truly one of the most phenomenal voices of our era, used with genuine musicality and artistry” The Australian

‘Armenian soprano Hasmik Papian… portrays her Norma confidently, with lyrical and passionate passages, flexible and temperamental…’ NRC Handelsblad°

“Any production of Norma stands or falls on the performance of the title-role. In this attractive but ultimately bizarre and cold staging, Hasmik Papian proves herself equal to the part's demands. The action is played as if at a dress-rehearsal of the opera. The three principal singers are shown preparing backstage, unpacking their costumes, applying make-up, and it soon becomes clear that the plot of the opera is being reproduced in their own private lives: the prima donna has the mezzo-soprano as her real-life rival for the tenor's affection. Julian Reynolds conducts the Netherlands CO in a satisfyingly vigorous account of this notoriously difficult score.” Gramophone Magazine, November 2006

“This Capuleti e i Montecchi is one of the best versions of this opera on disc. The edition used is the one Bellini made for La Scala a few months after the Venice premiere in 1830. The main difference is that Friar Lawrence here is a tenor (the excellent Nicola Amodio), and Juliet's solo in Act 2 is a continuous aria, rather than being punctuated by interjections from her father. Patrizia Ciofi gives this a really passionate performance: she is an ideal Juliet, youthful in appearance, in no way over-extended by Bellini's long vocal lines.
Clara Polito makes a tremendous Romeo, adding some effective flourishes in the cabaletta to her Act 1 aria and joining Danilo Formaggia as Tybalt in an exciting account of their fight duet in Act 2. Federico Sacchi is a thunderous Capulet, and the chorus makes an always positive contribution.
Luciano Acocella and the Orchestra Internazionale d'Italia make the opera sound quite the equal of Bellini's later, more famous works, but as Wagner wrote of it, 'there is true passion and emotion there'. Denis Krief's production is straightforward and always concentrated on the drama. It is played in modern dress, the Montagues and Capulets obviously on opposite sides in some unforgiving sectarian civil war, the men brandishing machine guns and revolvers. It works extremely well on its own terms, and the setting of the Ducal Palace in Martina Franca makes a perfect backdrop: recommended.” Gramophone Classical Music Guide, 2010

“Patrizia Ciofi gives this a really passionate performance: she is an ideal Juliet, youthful in appearance, in no way over-extended by Bellini's long vocal lines. Clara Polito makes a tremendous Romeo, adding some effective flourishes in the cabaletta to her Act 1 aria and joining Danilo Formaggia as Tybalt in an exciting account of their fight duet in Act 2. Federico Sacchi is a thunderous Capulet, and the chorus makes an always positive contribution. Denis Krief's production is straightforward and always concentrated on the drama. It is played in modern dress, the Montagues and Capulets obviously on opposite sides in some unforgiving sectarian civil war... It works extremely well on its own terms, and the setting of the Ducal Palace in Martina Franca makes a perfect backdrop: recommended.” Gramophone Magazine, November 2006