(Prima Classics) Few operas have so inextricably been linked with the name of Maria Callas as “Norma.” The first perhaps in a line of 20th century Neoclassicists, she dusted off every inch of (pseudo-)Romantic mannerism and histrionics, restituting to the playbills an uncompromisingly sympathetic interpretation of tragic grandeur, as if sprung from the pen of Jean Racine himself. Callas’s following {…}