NORMA (OPERA)

'''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.
The title role is generally considered one of the most difficult in the soprano repertoire. The role was created for Giuditta Pasta who also created the role of Amina in ''La Sonnambula''. Rodrigo Maffei Libonati says: "The casting of the main role in this opera used to be plagued by two serious diseases named ''soprano leggiera'' and ''soprano drammatica''. For a long while, going to the theatre to see Norma would either mean a large voiced woman desperately trying to be a tempo in florid passages or a light voiced one fast as a bird but virtually inaudible. In both cases, they would be primarily concerned about their voices. It was Maria Callas who settled the whole affair, showing that Norma needs both vocal weight and flexibility, but also that the quality of Pasta - intensity of declamation - is everything in this role. The kind of singing demanded here involves that every word in the text must be highlighted by means of dynamics, tempo and tone colouring in order to create the precise expressive effect. Alas, that has happened very rarely".
During the 20th century, only a small number of singers were able to master it with success: Rosa Ponselle in the early 1920s, Leyla Gencer and Virginia Zeani in the 1950s, later Dame Joan Sutherland in the 1960s through to the late 80's having also recorded the role twice, as Montserrat Caballé, another great Norma in an oustanding live recording at Orange festival. Maria Callas was the most famous Norma of the postwar period; she performed it 89 times and made studio recordings in 1954 and 1960, and other live recordings.
Contemporary and recent Normas include Edita Gruberova, Anna Tomowa-Sintow, Galina Gorchakova, Fiorenza Cedolins, Hasmik Papian, and the American soprano June Anderson who performed the role at the Lyric Opera of Chicago (1997) and elsewhere.

Contents

Roles

Synopsis

Famous pieces

External links

Roles

		Premiere: 26 December 1831 (Conductor: Unknown)
Norma, ''daughter of Oroveso, an astrologer''	soprano
Adalgisa, ''priestess in the grove of the Irmin statue''	soprano
Pollione, ''Roman proconsul in Gaul''	tenor
Oroveso, ''chief of the Druids''	bass
Clotilde, ''Norma’s friend''	soprano
Flavio, ''Pollione’s companion''	tenor

Synopsis

'Act I.' 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.
'Act II.' 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.

Famous pieces

★ ''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

External links

★ Norma at Detroit Opera

★ Normafa, a tree named after a famous Norma recital in Budapest