Norma (opera)
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| Operas by Vincenzo Bellini |
|---|
Adelson e Salvini (1825) |
Norma is a tragedia lirica or opera in two acts by Vincenzo Bellini with libretto by Felice Romani after Norma, ossia L'infanticidio (Norma, or The Infanticide) by Alexandre Soumet. First produced at La Scala on December 26, 1831, it is generally regarded as an example of the supreme height of the Bel canto tradition. "Casta diva" was one of the most familiar arias of the nineteenth century.
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[edit] Background
In a letter dated September 1, 1831, Bellini wrote the soprano Giuditta Pasta that "Romani believes [that this subject] will be very effective, and absolutely ideal for your encyclopedic character, because that is the kind of character Norma has". Indeed, Pasta's vocal and dramatic range was encyclopedic: that March, she had created the very different Bellini role of Amina, the lyrically vulnerable Swiss village maiden, in La sonnambula.
The title role is generally considered one of the most difficult in the soprano repertoire. It calls for tremendous vocal control of range, flexibility, and dynamics. Dramatically speaking, it covers the wide range of emotions that a woman can experience: conflict of personal and public life, romantic life, maternal love, friendship, jealousy, murderous intent, and resignation. German soprano Lilli Lehmann once famously remarked on how the singing of all three Brünnhildes in Wagner's Der Ring des Nibelungen in one evening was less stressful than the singing of one Norma. [1] However, her less famous reasoning was that "When you sing Wagner, you are so carried away by the dramatic emotion, the action, and the scene that you do not have to think how to sing the words. That comes of itself. But in Bellini, you must always have a care for beauty of tone and correct emission."
Throughout the 20th century, many singers have attempted the role of Bellini's tormented Druid priestess, with varying degrees of success. The following is a listing of some of the most renowned Normas, each of whom has brought her own strengths and weaknesses to the role. In the early 1920s, Rosa Raisa, Claudia Muzio, and Rosa Ponselle were each admired in the role. In the 1960s, two very different performers started donning the Druidess' robes: the Australian virtuosa Dame Joan Sutherland and the feisty Turk Leyla Gencer. In the 1970s, three other bel canto specialists debuted their Normas: Montserrat Caballé, Beverly Sills, and Renata Scotto. Not to be dismissed lightly are Grace Bumbry and Shirley Verrett, the two famous African-American divas who began as mezzo-sopranos and eventually started singing soprano repertoire.
The most famous Norma of the postwar period was Maria Callas, with 89 stage performances under her belt (several of which exist on recording), along with two studio recordings (made in 1954 and 1960).
During the 1980s and 1990s, the role of Norma was performed by such different singers as Katia Ricciarelli, Anna Tomowa-Sintow, Gwyneth Jones, and Jane Eaglen. Contemporary Normas include Fiorenza Cedolins, Galina Gorchakova, Hasmik Papian, Maria Guleghina, Nelly Miricioiu, June Anderson, and Edita Gruberova - of whom the last three have had careers as bel canto specialists.
[edit] Roles
| Role | Voice type | Premiere Cast, December 26, 1831 (Conductor: - ) |
|---|---|---|
| Norma, daughter of Oroveso, High-priestess of the Celts | soprano | Giuditta Pasta |
| Adalgisa, priestess in the grove of the Irminsul statue | soprano | Giulia Grisi |
| Pollione, Roman proconsul in Gaul | tenor | Domenico Donzelli |
| Oroveso, chief of the Druids | bass | Vincenzo Negrini |
| Clotilde, Norma’s friend | soprano | Marietta Sacchi |
| Flavio, Pollione’s companion | tenor | Lorenzo Lombardi |
[edit] Synopsis
[edit] Act 1
The grove. A secret love unites the seeress Norma with Pollione, the Roman proconsul, by whom she has borne two children. But Pollione has grown tired of the aging druidess and has fallen in love with Adalgisa, a young temple virgin. Despite Adalgisa's piety and virtue, she agrees to flee to Rome with Pollione. Adalgisa innocently tells Norma of her love, and Norma curses Pollione for his treachery.
[edit] Act 2
Norma’s apartment. She is about to kill her children, but through maternal pity finally confides them to the care of Adalgisa. When Pollione comes to take Adalgisa from the temple, Norma denounces him and he is seized by the Druids, after having refused to give up Adalgisa. Norma proclaims herself equally guilty with him. The funeral pyre is lighted, and ascending it, Norma dies with her lover.
[edit] Noted arias
- Sinfonia
- Casta diva, cavatina of Norma (Act I)
- Sola, furtiva al tempio, duet between Norma and Adalgisa (Act I)
- Ah! di qual sei tu vittima, terzetto between Norma, Pollione and Adalgisa (Act I)
- Teneri figli, arioso of Norma (Act II)
- Deh, con te, con te li prendi, duet between Norma and Adalgisa (Act II)
- Guerra, guerra! le galliche selve, chorus (Act II)
- In mia man alfin tu sei, duet between Norma and Pollione (Act II)
- Deh! non volerli vittime, final of Act II
[edit] Selected recordings
Note: "Cat:" is short for catalogue number by the label company; "ASIN" is amazon.com product reference number.
[edit] References
- ^ Interview between Edward Downes (quizmaster) and Maria Callas. La Divina Complete, CD 4. EMI Classics.
