Bellini S Norma

Norma is by common consent the finest of the ten operas composed during Vincenzo Bellini's short career, representing his genius more comprehensively than is usually the case with any single work by an operatic composer. This 1998 handbook provides the biographical and cultural context of the opera. It gives a full synopsis and an examination of the music and poetry, which is rooted in the aesthetics of early nineteenth-century Italian opera. Professor Kimbell suggests something of the impression Norma has made on our imaginations and sensibilities in the 165 years since it was first produced in Milan in December 1831. He considers the great interpretations of the eponymous leading role. His discussion also embraces Bellini's work more generally by presenting some of the critical reactions to his music.

Vincenzo Bellini's Norma, first produced at La Scala, Milan, in 1831, is widely regarded as the greatest achievement of the bel canto era. Its title role, sung at the premiere by Giuditta Pasta, has been undertaken in more recent times by Maria Callas, Joan Sutherland and Monserrat Caballe and remains one of the supremely challenging soprano parts in the operatic repertory. The opera tells of the conflicting loyalties of the High Priestess of the Druids, Norma, who is torn between her duty to her people and her love for the father of her two children, the proconsul of the occupying Roman forces in Gaul.The guide contains articles on the background to the opera and the development of bel canto, a detailed examination of its musical structure and a survey of its performance history, dealing in particular with the approaches of some of the many distinguished singers who have appeared in its principal roles. There is also a discussion of the contentious issue of which voice-types should more appropriately be singing each of the two leading female characters. The guide includes the full libretto with English translation, sixteen pages of illustrations, a musical thematic guide, a discography, a bibliography, and DVD and website guides.Contains:The Genesis of Norma, Susan RutherfordNorma's Musical Journey, Roger ParkerNorma: A Selective Performance History, John AllisonWeep, Shudder, Die: Vincenzo Bellini, Norma and Their Admirers, Gary KahnNorma: Libretto by Felice Romani after Alexandre Soumet's verse tragedy NormaNorma: English translation by Kenneth Chalmers

The beginning of the story: The Romans having effected the subjugation of Gaul, committed the government of the conquered province to Pollio, a Pro-Consul, who became enamored of Norma, daughter of the Arch-Druid, (Druidism being at that time the religion of the country,) who, besides the respect awarded her from the consideration of her birth and connections, was regarded by the superstitious multitude as the unerring oracle through whom their grand deity, Irminsul, condescended to convey to his faithful votaries his divine decrees. The Gauls, although submitting to the Roman yoke, are burning with the desire to expel the haughty strangers from their native forests, and impatiently wait for a signal from Irminsul, through the High-priestess Norma, to arise in arms against their oppressors. Norma, however, having been secretly united to Pollio, (the consequence of which union being the birth of two children,) has always repressed their anger and exhorted them to patience. When the Drama opens, Pollio has deserted Norma, and transferred his affections to Adalgisa, a young Priestess of the Temple of Irminsul, who permits a reciprocal passion to kindle in her bosom for the faithless Roman, who, after much persuasion, succeeds In gaining her consent to abandon the Temple, and fly with him to Rome. Remorse, however, soon takes possession of her breast, and in her agony, she resolves to reveal all to Norma, who Is already stung with a consciousness of slighted love. The anger of Norma is transformed into the wildest fury on learning from Adalgisa that Pollio is the seducer of her affections. At this moment Pollio enters and is bitterly reproached by Norma for his Infidelity and baseness. Pollio, insensible to her anger, tries to inveigle Adalgisa in the very presence of Norma, but Adalgisa recoils from him, and amid the reiterated expressions of Norma's wrath, the Roman retires, baffled in his base designs. Norma then, still under the influence of rage, resolves on the destruction of her children. But on approaching the simple couch, where the little beings enjoy the sweet sleep of childhood, with dagger uplifted, and ready to strike, the full tide of maternal feeling rushes into her heart, and arrests her arm. She then resolves to sacrifice her life for the sake of her children. She sends for Adalgisa, and, entrusting the children to her care, enjoins her to take them with her to their father and bo happy with him, Norma herself intending to give herself up to the law, which binds the Priestesses of the Temple of Esus to strict celibacy, under penalty of death by Are, for violation of this regulation. Adalgisa, moved by her distress, and conscious that she herself, although unwittingly, is the cause of the sufferings of her friend, endeavors to allay her perturbation, and promises to persuade Pollio to return to her. In anticipation of her success, Norma becomes more tranquil, and indulges hopes of brighter days. This illusion is of short duration. Clotilde soon after informs her that Adalgisa has been unsuccessful, and that the Roman persists in his determination to possess her. Upon this information Norma's fury knows no bounds. She rushes to the sacred shield, suspended at the altar, and strikes it thrice, thereby summoning Priests and warriors to the Temple, to hear the commands of Irminsul from the mouth of his High-priestess. Norma raises the cry of war against the Romans, thus throwing the burthen of revenging her private wrong upon the whole nation, and decreeing it as the bidding of the god....

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