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Re: Belliniís Norma - A discographical survey by Ralph Moore
Thank you, Lee; I think your question was largely rhetorical as you appear to have anticipated the answers confirming what I believe to be the case: our increasingly distant perspective in a time of shortage has taught us to be more appreciative of Sutherland's extraordinary gifts without necessarily being blind to the flaws in her singing, Certainly both her diction and characterisation are better in her second recording and she is more impressively partnered. To some extent, we are still in thrall to Callas as Norma, which is why, despite my praise for that Bonynge recording, the second Serafin is still supreme, but we can now make room for Sutherland, too. And yes, maybe we are all now a little more grateful and indulgent in our critical assessment of voices; I am often struck when I read critiques in reviews from the 70's and 80's how intolerant and even spiteful their comments are - just read some of the sour - and frankly often ridiculously negative - pronouncements in the essays in the first volume of "Opera on Record" edited by Alan Blyth.
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