Norma

“Ponselle, Milanov, Sutherland, Callas … after last night, Radvanovsky can add her name to the list,” declared the Huffington Post when Sondra Radvanovsky made her Met role debut as Norma in 2013. The 2017–18 season opens with a new production of Bellini’s masterpiece, starring Radvanovsky as the Druid priestess and Joyce DiDonato as her archrival, Adalgisa—a casting coup for bel canto fans. Tenor Joseph Calleja is Pollione, Norma’s unfaithful husband, and Carlo Rizzi conducts. Sir David McVicar’s evocative production sets the action deep in a Druid forest where nature and ancient ritual rule. 

Premiere: Teatro alla Scala, Milan, 1831. This opera is an extraordinary fusion of sublime melody, vocal challenge, and dramatic power. It examines an ageless and archetypal situation: a powerful woman compromises her ideals for love, only to find herself betrayed by her lover. But equally gripping is her relationship with the younger woman who is the new object of her former lover’s attention and in whom Norma sees both a rival and a second self. The title role demands dramatic vocal power combined with the agility and technique of a coloratura singer. It is a daunting challenge that few can rise to: those who have are part of operatic lore. 

The opera is set in Gaul (France) at the beginning of its occupation by the Roman Empire. Almost all of the characters are druids, members of the Gallic priesthood, the only exceptions being the tenors, both of whom are Romans. It is interesting that the Roman Empire, long depicted in European culture as a civilizing force, is here seen as corrupt and exploitative. 

Vincenzo Bellini (1801–1835) was a Sicilian composer whose greatest gift was his extraordinary understanding of the human voice. His meteoric career was cut short by his death at the age of 33, shortly after his opera I Puritani triumphed in its Parisian premiere. Felice Romani (1788–1865) was the official librettist of Milan’s Teatro alla Scala. A frequent collaborator of Bellini, he worked with the composer on six operas, and also wrote the libretti for Donizetti’s L’Elisir d’Amore and Anna Bolena, among many other works. 

Norma is perhaps the archetypal bel canto opera, a style of singing that flourished in Italy in the 18th and early 19th centuries. Its principal features are beauty of tone, legato phrasing, and the delivery of florid ornamentation. The score of Norma is characterized by extraordinary melody punctuated by sharp moments of raw drama. The primary functions of the clear orchestral writing are to move the drama along with vigorous rhythm and to inform certain moments with feeling and emotion.

Gaul, 50 B.C.E. In a forest at night, Oroveso, King of the Sicambi, leads the druids and warriors in a prayer for revenge against the conquering Romans. After they have left, the Roman proconsul Pollione admits to his friend Flavio that he no longer loves the high priestess Norma, Oroveso’s daughter, with whom he has two children. He has fallen in love with a young novice priestess, Adalgisa, who returns his love. Flavio warns him against Norma’s anger. The druids assemble, and Norma prays to the moon goddess for peace. She tells her people that as soon as the moment for their uprising against the conquerors arrives, she herself will lead the revolt. At the same time, she realizes that she could never harm Pollione. When the grove is deserted, Adalgisa appears and asks for strength to resist Pollione. He finds her crying and urges her to flee with him to Rome. She agrees to renounce her vows.

In her dwelling, Norma tells her confidante Clotilde that Pollione has been called back to Rome. She is afraid that he will desert her and their children. Adalgisa confesses to Norma that she has a lover. Recalling the beginning of her own love affair, Norma decides to release Adalgisa from her vows and asks for the name of her lover. As Pollione appears, Adalgisa answers truthfully. Norma’s kindness turns to fury. She tells Adalgisa about her own betrayal by the Roman soldier. Pollione confesses his love for Adalgisa and asks her again to come away with him, but she refuses and declares that she would rather die than steal him from Norma.

Norma, dagger in hand, tries to bring herself to murder her children in their sleep to protect them from living disgracefully without a father. She cannot and instead summons Adalgisabegging her to marry Pollione and take the children to Rome. Adalgisa refuses: She will go to Pollione but only to persuade him to return to Norma. Overcome by emotion, Norma embraces her, and the women reaffirm their friendship.

The warriors assemble in the forest to hear Oroveso’s announcement that a new commander will replace Pollione. Oroveso rages against the Roman oppression, but tells them that they must be patient to ensure the success of the eventual revolt.

Norma is stunned to hear from Clotilde that Adalgisa’s pleas have not persuaded Pollione to return to her, and, in a rage, she urges her people to attack the conquerors. Oroveso demands a sacrificial victim. Just then, Pollione is brought in, having profaned the druids’ sanctuary. Alone with him, Norma promises him his freedom if he will give up Adalgisa for her. When he refuses, Norma threatens to kill both their children and Adalgisa to punish him. But when she calls in the druids and tells them that a guilty priestess must die, she confesses that she is referring to herself. Moved by her nobility, Pollione asks to share her fate. Norma begs Oroveso to watch over her children, then leads her lover to the pyre.