Performed at Teatro Comunale, Bologna, Italy

”In Bologna [Kate Aldrich] is a beautifully burnished Adalgisa, perfectly holding her own opposite one of the great singers of today, Daniela Dessì (…) attacking her part with confidence, sporting a beautifully burnished voice.” -(Opera Chic)

Bellini wrote “Norma” at age 30. It became his greatest achievement, and it is now regarded as an example of the supreme height of the bel canto tradition. The title role is generally considered one of the most difficult in the soprano repertoire. It includes the famous aria “Casta Diva,” which is often associated with opera legend Maria Callas.

Tosca was called a “shabby little shocker” by one English critic, but that’s an understatement: Tosca is a fiercely effective masterpiece of music-drama. Puccini had been interested in the Sardou’s play La Tosca for some time, but by 1895 the rights belonged to another composer, Alberto Franchetti. However, the publisher Ricordi and librettist Luigi Illica had no trouble persuading Franchetti to surrender the rights, telling him the subject matter – rape, murder, warring political factions – were far too vulgar for the Roman public’s taste. Soon after, Puccini was busy at work with the complete libretto in hand. Puccini approached the opera with his usual meticulousness – travelling to Rome to hear the tones of the bells in Castel Sant’Angelo, marking the exact pitch of the bell at St. Peter’s. Puccini also made two important changes to the libretto. He rejected an aria sung by Cavaradossi under torture, instead replacing it with the quartet; he felt that the static nature of the aria would slow the drama. Likewise, Puccini rejected both a poetic aria and transcendental love duet for the couple before Cavaradossi’s execution. Ricordi found the “acting lesson” scene too perfunctory, but Puccini insisted that Tosca would not waste her time on flowery language – and of course, the drama proves that he was right.

From Teatro Carlo Felice, Genoa, Italy. Recorded live on June 10, 2010