Fathom Events' Met Opera "Norma": Moonlight Becomes Her

The Metropolitan Opera's "Norma"
(photo: Met Opera)

Vincenzo Bellini's Norma, the first HD Broadcast of the current season by the Metropolitan Opera, with Libretto by Felice Romani, may require a brief synopsis of its somewhat convoluted plot, especially if this “moonlit” production obscures a few plot points here or there.

The story takes place in Gaul, in 50 BCE, during the Roman occupation. In a forest at night, the priest Oroveso (bass Matthew Rose) leads the Druids in prayer against the Romans. The Roman proconsul Pollione (tenor Joseph Calleja) admits to his friend Flavio (tenor Adam Diegel) that he no longer loves the high priestess Norma (soprano Sondra Radvanovsky), Oroveso’s daughter, with whom he has two children. He has fallen in love with a young novice priestess, Adalgisa (mezzo Joyce DiDonato). Flavio warns him against Norma’s anger. The Druids assemble and Norma prays to the moon goddess for peace. She tells her people she will lead their revolt, though she could never harm Pollione. Adalgisa asks for strength to resist Pollione, who urges her to flee with him to Rome. She agrees to renounce her vows. Norma tells her confidante Clotilde (soprano Michelle Bradley) that Pollione has been recalled to Rome. Adalgisa confesses to Norma that she has a lover. Norma, about to release Adalgisa from her vows, asks for the name of her lover. As Pollione appears, Adalgisa answers truthfully. Norma, her kindness turning to fury, 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 vows she would rather die than steal him from Norma.

The Metropolitan Opera's "Norma"
(photo: Met Opera)

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 changes her mind and summons Adalgisa, advising 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 Druids assemble at their altar to hear Oroveso’s announcement that a new commander will replace Pollione. Oroveso rages against the Roman oppression, but tells the Druids that they must be patient to ensure the success of the eventual revolt. Norma, stunned to hear from Clotilde that Adalgisa’s pleas have not persuaded Pollione, in a rage urges her people to attack the conquerors. Oroveso demands a sacrificial victim, and just then Pollione is brought in. Norma promises him his freedom if he will leave Adalgisa and return to her. When he refuses, Norma threatens to kill him and their children, and to punish Adalgisa. She calls in the Druids and tells them that a guilty priestess must die, then confesses that she is referring to herself. Moved by her nobility, Pollione asks to share her fate. She begs Oroveso to watch over her children and leads her lover to the pyre.

Bellini's composition, Conducted by Carlo Rizzi, includes such arias as Sola, furtiva, al tempio (Norma and Adalgisa), Oh! Di qual sei tu vittima (a trio by Norma, Adalgisa, and Pollione), and of course the justly famous Casta diva solo by Norma, all superbly sung (and acted) by the principals, especially Radvanovsky and DiDonato. It was quite an audible treat, if not a visual one; the Production by Sir David McVicar, Set Design by Robert Jones, Costume Design by Moritz Junge, and Lighting Design by Paule Constable, all managed to create a dark and ugly experience lit, as the libretto details, for most of the opera, solely by moonlight (which actually becomes no one). Fortunately, the Metropolitan Opera Chorus (mostly male, with a few females to ensure there'd be future druids) led by Donald Palumbo, saved the day, as did the Live in HD Director Gary Halvorson and charming HD Host Susanna Phillips.

It was a wondrously memorable performance for the ears, if not always for the eyes.