**** If an opera production bears the name of Alex Ollé, then we know we will see a contemporary interpretation of the work. This production certainly offers an idiosyncratic version of Bellini's Norma, but it leads to a logical and acceptable story, defended above all with heart and soul by the singers and of course by conductor Antonio Pappano.
The ancient Celtic religion of the druids gives way to references to the Catholic faith, which is ascribed numerous fanatical and sectarian traits. Across the entire back wall of the set, a pile of crucifixes is projected. It creates a sinister context for the story from the outset. The functionaries of the religion are dressed as members of the Ku Klux Klan or as priests or altar servers. At the great ceremony, there is an unmistakable reference to the enormous incense censer of Santiago de Compostella cathedral. The Druids are catapulted a couple of centuries forward, so that Norma and her Roman lover Pollione are also dressed in contemporary costumes in "private situations". The high dignitaries of the Druids are modern-day military officers. Adalgisa's confession of her forbidden love takes place in a confessional. The confrontation between Adalgisa and Norma is acted with intensity; Norma is convincingly enraged.
At the beginning of the second act, the choice for the contemporary setting leads to a moving scene when Norma contemplates killing her children. In a domestic scene with playing children, a children's bicycle, a cartoon on TV, she is tormented as a modern woman and mother by her dilemma. The duet with Adalgisa (with teddy bear on her lap) is particularly touching. The final scene with the pyre, projected as a large burning cross, is also a clever solution for a difficult scene.
Brilliant Norma
Sonja Yoncheva is a virtuosic Norma: intense lover, tormented mother and proud, dignified woman. Her clear voice with dramatic power and beautiful high register lends intense tragedy to her interpretation of the iconic bel canto role. The vocal embellishments flow naturally and never forced. A superior Norma, "sublima donna" as Pollione sings of her in the repentant final aria. Without being a charming playboy, Joseph Calleja convinces as a chic uniformed military officer in his role as a woman's conqueror. His voice is virile and bends beautifully in the various registers he must master. He sings with much expression and with perfect diction. He establishes himself as an ideal bel canto singer for this dramatic repertoire. Sonia Ganassi plays a moving Adalgisa, but the voice lacks agility and roundness. Brindley Sherratt, on the other hand, delivers a failed interpretation as Oroveso.
Although bel canto is not directly Antonio Pappano's preferred genre, it does not mean he does not deliver a masterful interpretation of it. As in every repertoire, he gives a stylistically faithful performance with attention to the sustained melody, which he simultaneously keeps exciting. He ensures the right balance between the intimate moments (Norma-Adalgisa duet) and the militant (the fierce Guerra chorus). His musical approach supports the individuality of each character. A fine production, carried above all by the title role.
- WHAT: Norma | Vincenzo Bellini (1801-1835)
- DIRECTED BY: Alex Ollé (La Fura dels Baus)
- VOICES: Sonja Yoncheva, Joseph Calleja, Sonia Ganassi, Brindley Sherratt, David Junghoon Kim, Vlada Borovko
- ORCHESTRA: Orchestra of the Royal Opera House and the Royal Opera Chorus conducted by Antonio Pappano
- RELEASE: Opus Arte BD7225D