The soprano, born in Georgia but renowned worldwide, had one of the most immediately recognizable voices of the recorded era: rich, full, expressive, and powerful. A wonderful recitalist, Norman was even more at home in opera in the studio (where her range of repertoire was extensive) than on stage—Richard Strauss' Salome and Bizet's Carmen are fine examples. A sensitive Mozartian who could finesse her voice for the Figaro Countess and Donna Elvira (Don Giovanni), she was a superb Wagnerian (Kundry in Parsifal and Sieglinde are highlights) and her Strauss, particularly the Four Last Songs, is especially prized.