Norma is no ordinary opera. For the lead soprano it can be compared to scaling Mount Everest. Very few sopranos have managed this feat. Maria Callas and Joan Sutherland reached the summit and rising young Polish soprano Sonya Yoncheva comes very close.
Norma has a very complicated plot on paper but when viewed, it is much easier. Oroveso seeks to rouse his countrymen to rebellion against the Romans. Pollione confides in Flavio that he no longer loves Norma, in spite of the fact that, unknown to everyone, she has bore him two sons. Norma tries to prevent rebellion, to protect Pollione, prophesying the fall of Rome through its own internal weaknesses.
Pollione persuades Adalgisa to run away to Rome with him. Norma, at home, knows that Pollione plans to leave her, but does not know the name of her rival. Adalgisa admits her infidelity to her people to Norma, who eventually understands that Adalgisa is the new object of Pollione’s affections. When Adalgisa realises the situation, she rejects Pollione.
Norma considers killing her sons and then asking Adalgisa to go with Pollione and be a mother to her children in her place. Adalgisa refuses to be disloyal to Norma, but goes to Pollione to recall him to his duty. He will not hear her and Norma now calls for open revolt. Meanwhile Pollione, attempting to abduct Adalgisa, has been taken prisoner and will be put to death. Norma offers in his place one who has broken faith with her people, herself. A funeral pyre is erected, which she mounts, joined in her final moments by Pollione.
There is so much to recommend this opera. Firstly, the setting – Director Alex Olle has set the opera in modern day. Druids have been replaced with Catholicism and the military. The set itself is made from hundreds of crucifixes. A highlight is the ring of crucifixes at the top of the set that resembles the crown of thorns worn by Christ at the crucifixion.
The lighting is at times stark, at times moody, but always accentuating the action of the opera. It was one of the highlights.
The success of Norma depends on the lead soprano and Sonya Yoncheva does not disappoint. Her voice soars through the difficult (and famous aria) in Act 1 and throughout the rest of the opera. Her acting is intense, vulnerable and stoic as the opera develops. I found a few notes at the end of Act 1 lacking in intonation, but this was more than made up for in Act 2.
Joseph Calleja as Pollione, Brindley Sherratt as Oroveso and Sonia Ganassi all shine in their roles providing solid support to Norma. Their singing and acting was consistent and uplifting.
If you haven’t heard Bel Canto opera before, see Norma (one of the best examples). If you have, return to Bel Canto and enjoy Bellini, the precursor to Verdi!
Reviewed by Barry Hill
Twitter: @kinesguy
Rating out of 10: 9
Norma screened as part of the Palace Opera & Ballet cinema season, presenting The Royal Opera House, La Scala and Opéra national de Paris – exclusive to the Palace Nova Eastend cinemas.