Die Aufnahme-Geschichte dieser Oper beginnt mit der Belcanto-Landnahme in New York, geleitet vom Dirigenten Ettore Panizza und der Primadonna Gina Cigna, die 1937 Bellinis Hauptwerk aus der Versenkung holten und neu zur Diskussion stellten. Cigna sang im selben Jahr die Norma auch in Turin, wo die Produktion ebenfalls mitgeschnitten wurde - technisch sind beide Aufnahmen verständlicherweise unzureichend, sie dokumentieren aber einen Wendepunkt in der Opern-Rezeptionsgeschichte. Wiewohl Cigna der Partie mit vergleichsweise plumpen stilistischen Mitteln gerecht zu werden versucht. Die Zeitgenossen waren freilich hingeris...
Wer wissen möchte, wie das einmal geklungen hat, wenn die Melomanen an der Mailänder Scala wirklich außer Rand und Band gerieten, der sollte das Final-Rondo von Bellinis »Nachtwandlerin«, gesungen von Maria Callas am Ende der von Leonard Bernstein unglaublich flexibel und mit Feingespür für die Sänger dirigierten Bellini-Premiere von 1955 hören. Das Tondokument bewahrt nicht nur die enthusiastische Publikumsreaktion, sondern natürlich auch eine singuläre Gesangsleistung, die den Grund für den überbordenden Jubel abgab: Die Callas krönt eine grandiose Belcanto-Aufführung mit einer Sternstunde ausdrucksvollsten Zierges...
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Oktett
Schubert OktettWr. Konzerthausquartett Leopold Wlach, Karl Öhlberger, G. v. Freiberg, J. Hermann
2. AdagioWr. Konzerthausquartett Leopold Wlach, Karl Öhlberger, G. v. Freiberg, J. Hermann
3. Allegro vivaceWr. Konzerthausquartett Leopold Wlach, Karl Öhlberger, G. v. Freiberg, J. Hermann
Thema und VariationenWr. Konzerthausquartett Leopold Wlach, Karl Öhlberger, G. v. Freiberg, J. Hermann
5. Menuetto. AllegrettoWr. Konzerthausquartett Leopold Wlach, Karl Öhlberger, G. v. Freiberg, J. Hermann
Andante molto - AllegroWr. Konzerthausquartett Leopold Wlach, Karl Öhlberger, G. v. Freiberg, J. Hermann (1951)
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