BUENOS AIRES MUSICAL
(July 1, 1949)

     BUENOS AIRES MUSICAL: "Bellini’s Norma in the Teatro Colón".

     [...] The Greek soprano Maria Callas, on whom we had suspended judgement following her performance of Turandot, considerably elevated her performance in Norma. The objections we had about her voice that questioned the vocal substance, heterogeneity of register, and vocal irregularities, have remained. However, we must understand that this opera is more singable, and the voice falls within a range that is more satisfactory and even eloquent in many moments of the score. Among them we must mention the cavatina "Casta diva". [...] In general, we iterate that the negative aspects of our initial hearing have been compensated by happier results: the lovely middle voice, the suggestive fil di voce, and the considerable vocal agility. From the dramatic standpoint, she was unsurpassed in the manner she undertook the dramatic aspects of the role.
     The mezzo-soprano Fedora Barbieri realized her greatest effort of the season as Adalgisa, singing again a role she had done two seasons ago. [...] The Oroveso of Nicola Rossi-Lemeni, vocally splendid, offered credible dramatic feeling to his music as well as a temperament that should be seen and heard in other roles. [...] E. Valenti Ferro.