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.
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
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