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You haven't listened to many renditions apperrantly

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@@aclassicaltrove Apparently, you don't wish to read a dictionary, but I will indulge you with the objective fact/definition according to the Oxford Dictionary - sub·tle /ˈsədl/ adjective adjective: subtle; comparative adjective: subtler; superlative adjective: subtlest (especially of a change or distinction) so delicate or precise as to be difficult to analyze or describe. "his language expresses rich and subtle meanings" Similar: fine fine-drawn ultra-fine nice overnice minute precise narrow tenuous hairsplitting indistinct indefinite elusive abstruse minuscule Opposite: crude (of a mixture or effect) delicately complex and understated. "subtle lighting" h Similar: understated low-key muted toned down subdued delicate faint pale soft indistinct indefinite vague washed out hOpposite: lurid obvious making use of clever and indirect methods to achieve something. "he tried a more subtle approach" ------- Hopefully that suffices for you? In future, I would advise that you review the dictionary for objective facts. Merci beaucoup. :)

@@aclassicaltrove Well, the figure of Norma is a bit complex. In Rosa Ponselle's own words, she describes her Norma as "having just as strong feelings as a character like Gioconda, but every phrase must be turned with elegance - no matter how dramatic and she feels many different emotions throughout the entire opera - romantic love, filia love, motherly love, heartbreak, anger, murder, resignation, etc." It is not easy to convey all of those emotions well, especially with the voice, let alone the body and face. Unfortunately, we can never see how Rosa acted physically in the role, so that is one advantage that Maria Callas HAS left. However, even in just recording, Rosa seems to understand that character so thoroughly and she doesn't try to sing it in a grandoise way. Perhaps this goes back to what Rosa herself felt for the role - she both was initimidated by playing the character, because she wanted to do her best on every level, but at the same time, she knew and understood what was required/necessary for the role to be believeable. When you compare some women such as Maria del Macchi, Montserrat Caballe, Rosa Ponselle, Maria Callas, etc and then compare that with other women who played Norma, such as Zinka Milanov, Gina Cigna, Leonilda Gabbi Paini, etc. The former have that understanding and delivery of that character which makes it more, if you will pardon the term, believable, human, realistic. It doesn't feel as fake as say when someone like Zinka Milanov, Gina Cigna, etc. Even when the aria itself was transposed and sung by contralto Marian Anderson, she had more understanding and realism in the character than the latter did.

@@EmilyGloeggler7984 wonderful reflections full of many good insights, thanks so much. I feel that up until the cabaletta, Ponselle is the ideal. There, Callas sculpts the fioriture like a Bernini sculpture, and she has no equal in dramatic coloratura. Ponselle had an immense natural gift, without the full knowledge of the true style of bel canto coloratura, which was spoon fed to Callas as a young student of Elvira deHidalgo.

Rosa Ponselle was Callas' role model. Callas is just sound like her, but will 100 times more dramatic force in her.

​​​@@EmilyGloeggler7984 da quel che si capisce, e io non sono uno scemo, "Rosa" aveva una voce bella, importante ma assai poco espressiva. Una stupidaggine accostarla sempre alla Callas e viceversa. Rosa non fa differenza quando canta tra una Aida o una Norma o una Leonora, stessa espressione e poca.