1204:"Strike me instead", he demands, "so that only I alone will die", but she quickly asserts that not only will all the Romans die, but so will Adalgisa, who has broken her vows as a priestess. This prompts him to plead for her life. (Cabaletta: Norma and Pollione: "GiĂ mi pasco ne' tuoi sguardi" / "Already I take pleasure in the looks you give me".) When Pollione demands the knife, she calls the priests to assemble. Norma announces that it would be better to sacrifice a priestess who has broken her vows, and orders the pyre to be lit. Oroveso demands to know who is to be sacrificed while Pollione begs that she stays silent. Norma then wonders if she is not in fact the guilty one, then reveals that it is she who is to be the victim: a high priestess who has broken her vows, has become involved with the enemy, and has borne his children. (Aria, Norma to Pollione: "Qual cor tradisti" / "The heart you betrayed"; Duet: Norma and Pollione; ensemble, Norma, Oroveso, Pollione, druids, priests: each expresses his/her sorrow, anger, pleas to Norma, with Oroveso learning for the first time that Norma is a mother.)
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will make a better lover for
Adalgisa than he was for her. Adalgisa is aghast. Norma: "I beg you for his children's sake." (Duet, first Norma: "Deh! con te, con te li prendi" / "Please, take them with you") Adalgisa tells her that she will never leave Gaul and only agreed to the request in order to do what was good for Norma. (Duet, Adalgisa: "Vado al campo"/"I'll go to the camp") In the duet, Adalgisa agrees to go to the Roman camp and tell Pollione of Norma's grief; her hope is to persuade him to return to Norma. She then renounces Pollione: (Duet: "Mira, o Norma" / "Look, o Norma") They sing together, each expressing her own thoughts and feelings until Norma realizes that Adalgisa will give up Pollione and remain with her: (Cabaletta; Duet, Norma and Adalgisa: "Si fino all'ore estreme" / "Until the last hour")
1299:, where it comes in the duet "Qual cor tradisti, qual cor perdesti" . Here the conversion of the will is clearly indicated by the quietness suddenly introduced into the music. Quite apart from its excellent music, and from the diction that can only be that of a libretto, and considered only according to its motives and to its interior economy, this piece is in general a tragedy of extreme perfection, a true model of the tragic disposition of the motives, of the tragic progress of the action, and of tragic development, together with the effect of these on the frame of mind of the heroes, which surmounts the world. This effect then passes on to the spectator."
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beside him at the altar of Venus and a huge storm arose: (Pollione, aria: "Meco all'altar di Venere" / "With me at the altar in Rome was
Adalgisa dressed in white, veiled all in white.") The storm presaged disaster for both Norma and himself: "Thus does Norma punish her faithless lover," he declares. They hear the trumpets sounding to announce Norma's arrival. Flavio urges his friend to leave, but Pollione stands firm, proclaiming that he will confront Norma and the druids with a superior power and overthrow their altars: (Cabaletta: "Me protegge, me difende" / "I am protected and defended")
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declares that she would rather die. Norma then demands that her lover go, leaving behind his children â and his honor. (Finale: brief duet, Adalgisa and
Pollione: he declares his love, and she her desire for Norma not to be a source of guilt to her. Trio: Norma continues to rage at Pollione, Adalgisa repeats her desire to make him return to Norma, and Pollione curses the day when he met Norma.) Then the sound of the druids calling Norma to the temple is heard. They report that the angry god, Irminsul, has spoken. Pollione storms out.
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345:(after rehearsing the entire second act on the day of the premiere) as well as noting how certain numbers failed to pleaseâand failed to please the composer as well! But then he explains that most of the second act was very effective. It appears from the letter that the second evening's performance was more successful and Weinstock reports it was from this performance forward that it "was recognised as a successful and important opera" with 208 performances given at La Scala alone by the end of the 19th century.
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1096:: "Casta diva" / "Chaste goddess"). She pleads that the goddess shed upon earth the peace that she has created in heaven. She calls for all to complete the rites and then clear the uninitiated from the grove. To herself, she declares that she cannot hurt Pollione, but desires that things return to where they used to be: (Cabaletta: "Ah! bello a me ritorna" / "Return to me, O beautiful one"). The assembled crowd accepts her cautious approach, and all leave the grove.
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more, their experiences of falling in love run parallel: (Norma and
Adalgisa, duet: "Sola, furtiva al tempio" / "Often I would wait for him"). Adalgisa pleads for help and forgiveness, and Norma pledges that she will do that and will also free her from her vows as a priestess: (Norma: "Ah! sĂŹ, fa core, abbracciami" / "Yes, take heart, embrace me". Adalgisa: "Ripeti, o ciel, ripetimi" / "Say that again, heavens, say again")
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the altar and that the Roman has sworn to abduct her from the temple. In anger, Norma strikes a gong-like shield as a summons to war. Trumpets sound and
Oroveso and the druids all rush in, demanding to know what is happening. They hear Norma's answer and the soldiers take up the refrain: "Guerra, guerra!" / "War, war!", while Norma proclaims "Blood, blood! Revenge!"
1290:. "The horrors on the stage hold up to him the bitterness and worthlessness of life, and so the vanity of all its efforts and endeavors. The effect of this impression must be that he becomes aware, although only in an obscure feeling, that it is better to tear his heart away from life, to turn his willing away from it, not to love the world and life." He praised
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that he cannot leave her. He is distraught, and she doesn't show she is equally torn, until the moment he declares that he must return to Rome the following day. He begs
Adalgisa to go with him: (Duet: Pollione, then Adalgisa, then together: "Vieni in Roma" / "Come to Rome"). She resists him, but finally agrees that they will leave together the following day.
1356:â relocated from Gaul to Britain, but sharing the basic plot outline of a love affair between a druidic priestess and a Roman officer. Bradley further stated that, in homage to Bellini, the hymns in chapter five and twenty-two of her book are adapted from the libretto of the opera's act 1, scene 1, and those in chapter thirty from act 2, scene 2.
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The action, free from all theatrical coups and dazzling effects, reminds one instinctively of a Greek tragedy. Perhaps the views expressed by
Schiller in his 'Bride of Messina' to the effect that he had hopes for the full revival of the tragedy of the ancients upon our stage, in the form of the opera, will receive new justification in this
1259:, there are long, long, long melodies such as no-one before him had produced. And what truth and power of declamation, as for example in the duet between Pollione and Norma! And what elation of thought in the first phrase of the introduction ... no-one ever has created another more beautiful and heavenly.
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Norma asks
Adalgisa to describe the man whom she loves. Responding, she tells her that he is a Roman, and, at that moment, turns to indicate that it is Pollione who is just then entering the room. As Norma furiously turns to confront Pollione, Adalgisa is confused: Norma: "Oh! non tremare, o perfido"
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Pollione and Flavio enter. Although Norma has secretly broken her vows in order to love him and has borne him two children, Pollione tells Flavio that he no longer loves Norma, having fallen in love with the priestess
Adalgisa. But he expresses some remorse, describing his dream in which Adalgisa was
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was given 34 performances in its first season at La Scala, and reports from elsewhere, especially those from
Bergamo, when it was staged in late 1832, suggested that it was becoming more and more popular. Between 1831 and 1850 Weinstock provides details of the dozens of performances given in numerous
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was completed by about the end of November. While, for Romani, it became "the most beautiful rose in the garland" of all his work with Bellini, it was not achieved without some struggles. Bellini, now at the height of his powers, was very demanding of his librettist and required many re-writes before
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In order for Norma to complete the rites to authorise going to war, Oroveso demands to know who will be the sacrificial victim. At that moment, Clotilde rushes in to announce that a Roman has desecrated the temple, but that he has been apprehended. It is Pollione who is led in, and Norma is urged to
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Norma, the high priestess of the Druid temple, who had two children by Pollione, the Roman proconsul of Gaul, breaking her Druid chastity vows, discovers that her lover is now in love with her friend, the young Druid priestess Adalgisa. Norma tries to convince Pollione to give up Adalgisa and return
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in one evening would be less stressful than the singing of one Norma. She also commented "When you sing Wagner, you are so carried away by the dramatic emotion, the action, and the scene that you do not have to think how to sing the words. That comes of itself. But in Bellini, you must always have a
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Here, where the poem rises to the tragic height of the ancient Greeks, this kind of form, which Bellini has certainly ennobled, serves only to increase the solemn and imposing character of the whole; all the phases of passion, which are rendered in so peculiarly clear a light by his art of song, are
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was "indisputably Bellini's most successful composition". "In this opera, Bellini has undoubtedly risen to the greatest heights of his talent. In these days of romantic extravaganzas and the hyper-excitement of the so-called musical attractions he presents a phenomenon which can hardly be overrated.
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having demonstrated her extensive vocal and dramatic ranges in creating the role of Amina, the Swiss village maiden, she had been engaged by La Scala for her debut during the following season. Bellini and Romani then began to consider the subject of the coming autumn's opera. By the summer, they had
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In the concerted finale, Norma pleads with Oroveso to spare her children, reminding her father that they are of his own blood. ("Deh! non volerli vittime" / "Please don't make them victims"). After he promises to take care of them, she prepares to leap into the flames, and the re-enamoured Pollione
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Norma looks at both of her sons, who are asleep. She considers killing them. Advancing towards them with knife upraised, she hesitates. (Recitative: "Dormono entrambi ... non vedran la mano che li percuote" / "They are both asleep ... they shall not see the hand which strikes them.") But she cannot
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Norma enters. (Aria: "Ei tornerĂ " / "He will come back") Then Clotilde arrives with news that Adalgisa has failed to persuade Pollione to return. Although Norma questions whether she should have trusted her, she then learns from her servant that Adalgisa is returning and wishes to take her vows at
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The young priestess enters, concerned at how pale Norma looks. Norma makes her swear to do everything she asks and, upon her agreement, tells her that she is entrusting the two children to her care and states that they should be taken to the Roman camp to their father Pollione, a man who she hopes
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Forcing the priestess to realise that she is the victim of a huge deception, Norma addresses Adalgisa. (Trio: each sings in succession, beginning with Norma: "Oh! di qual sei tu vittima" / "Oh, you are the victim"; then Adalgisa: "Oh! qual traspare orribile" / "What horror has been revealed"; then
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Norma appears to be upset and orders her maid, Clotilde, to take the two children away from her, expressing very ambivalent feelings about them. She tells Clotilde that Pollione has been recalled to Rome, but does not know if he will take her or how he feels about leaving his children. As Adalgisa
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In addition, in a letter to his uncle on 28 December, Bellini tried to explain the reasons for the reactions. As other commentators have also noted, some problems were innate to the structure and content of the opera, while others were external to it. Bellini discusses the tiredness of the singers
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Adalgisa tells Norma she has fallen in love with a Roman, whom she does not name. As she describes how she fell in love while waiting at the temple and seeing "his handsome face" appear, Norma recalls (as an aside) her own feelings for Pollione ("my passions, too, burned like this"), and more and
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Adalgisa prays at the temple, remembering with some sorrow how she became involved with Pollione. He enters, telling her that she prays to a cruel god and is not trying to invoke the god of love. As she appears to reject him, he declares (Aria: "Va crudele" /"Go, O cruel one") but he is convinced
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There are angry exchanges among the three: Norma declaring Pollione to be a traitor, he trying to persuade Adalgisa to leave with him, and Adalgisa angrily telling him to go away. When he declares that it is his fate to leave Norma, she encourages the young priestess to go with him, but Adalgisa
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As Norma leads the druids and priestesses, the crowd proclaims: "Norma viene" / "Norma is coming" and, as Oroveso awaits her, they describe her dress and manner. All kneel as she approaches. "The time is not ripe for our revenge", she declares, stating that Rome will perish one day by being worn
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The crowd departs: (Duet, Norma and Pollione: "In mia man alfin tu sei" / "At last you are in my hands"). Norma demands that he forever shun Adalgisa; only then will she release him and never see him again. He refuses, and she vents her anger by telling him that she will then kill her children.
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I hope that you will find this subject to your liking. Romani believes it to be very effective, and precisely because of the all-inclusive character for you, which is that of Norma. He will manipulate the situations so that they will not resemble other subjects at all, and he will retouch, even
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Oroveso leads the druids in a procession in the forest to pray for victory against the invading Romans: (Oroveso and druids: "Ite sul colle, o druidi" / "Go into the hills, Druids"). The druids pray that Norma will come and have the courage to broker peace with the Romans: (Druids and Oroveso:
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also provided. By the end of August it appears that Romani had completed a considerable amount of the libretto, enough at least to allow Bellini to begin work, which he certainly did in the first weeks of September as the verses were supplied. He reported in a letter to Pasta on 1 September:
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repertoire. It calls for great vocal control of range, flexibility, and dynamics as well as containing a wide range of emotions: conflict of personal and public life, romantic life, maternal love, friendship, jealousy, murderous intent, and resignation. The German soprano
265:, who had made a name for himself with Rossini roles, especially that of Otello. They would fill the roles of Adalgisa and Pollione. Donzelli provided Bellini with precise details of his vocal capabilities which were confirmed by a report which the Neapolitan composer
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the two women together, followed by Pollione alone: "Norma! de' tuoi rimproveri" / "Norma, do not reproach me now", continuing with "Please give this wretched girl some respite"; after which all three repeat their words, singing at first individually, then together.)
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of the nineteenth century. She felt that it was "ill adapted to her vocal abilities", but Bellini was able to persuade her to keep trying for a week, after which she adapted to it and confessed her earlier error. At the opening night, the opera was received with what
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for its artistic excellence in producing this effect. "âŠhe genuinely tragic effect of the catastrophe, the hero's resignation and spiritual exaltation produced by it, seldom appear so purely motivated and distinctly expressed as in the opera
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435:! Let anyone name me a spiritual painting of its kind, more fully carried out, than that of this wild Gaelic prophetess...Every emotional moment stands out plastically; nothing has been vaguely swept together..."
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thereby made to rest upon a majestic soil and ground, above which they do not vaguely flutter about, but resolve themselves into a grand and manifest picture, which involuntarily calls to mind the creations of
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take the sacrificial knife to stab him but, approaching him, she is unable to perform the deed. The assembled crowd demands to know why, but she dismisses them, stating that she needs to question her victim.
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between Pollione, the Roman proconsul of Gaul, Norma, his former companion, and the young Adalgisa. The background is the uprising of the Gallic people against the Roman occupiers, led by the Druid Oroveso.
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The druid warriors gather and prepare themselves to attack the Romans. Oroveso enters with news from the gods: the time has not arrived to strike. Somewhat frustrated, the soldiers accept the decision.
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506:, who gave 89 stage performances (several of which exist on live recordings as well as two on studio versions made in 1954 and 1960). Callas's first appearances in the role began at the
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in Venice, and as a result, in AprilâMay 1830 Bellini was able to negotiate a contract with them for two operas, one at each theatre. The opera for December 1831 at La Scala became
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The opera was given its British premiere in London on 20 June 1833 and its US premiere at the St. Charles Theatre in New Orleans on 1 April 1836. In the late 1840s and during the
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Bellini is poor, it is true, in harmony and instrumentation; but rich in feeling and in an individual melancholy of his own! Even in the least well-known of his operas, in
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bring herself to do it: (Aria: "Teneri, teneri figli" / "My dear, dear sons") The children wake up and she calls for Clotilde, demanding that Adalgisa be brought to her.
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to her, but he refuses. Norma publicly confesses her fault and is sentenced to death by fire. Pollione is moved by Norma's self-sacrifice and joins her at the stake.
341:, on the night of the premiere, Bellini wrote "Fiasco! Fiasco! Solemn fiasco!" and proceeded to tell him of the indifference of the audience and how it affected him.
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1791:
426:, he wrote an aria for the bass and men's chorus for this production. However, that aria has not entered the general repertoire. Wagner wrote at the time that
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at La Scalaâwhere it received 16 performancesâfueled this rivalry, at least in Bellini's head. It was only when he staged a triumphant revival of his own with
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Among the external reasons, Bellini cited the adverse reaction caused by "hostile factions in the audience" consisting of both the owner of a journal (and his
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Bellini left Milan for Naples, and then Sicily, on 5 January 1832 and, for the first time since 1827, 1832 became a year in which he did not write an opera.
625:, and several broadcasts of her live performances have been preserved from the early 1950s through her final performances of the role in Paris in May 1965.
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who were each admired. Maria Callas emerged as a major force in the role in the post-World War II period. She made two studio recordings of the opera for
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1324:, which Ibsen saw in 1851, but the characters are contemporary politicians. The play was first printed anonymously in the satirical magazine
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era, some of the music was used in demonstrations of nationalistic fervour, one such example being the 1848 celebration of the liberation of
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decided to base it on Alexandre Soumet's play which was being performed in Paris at around that time and which Pasta would have seen.
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778:, after a career of 40 years and one day after turning 65, successfully made her debut as Norma at the Teatro Comunale di Bologna.
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prayer "Casta diva" in Act 1 is a famous piece. Among the well known singers of Norma of the first half of the 20th century was
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in Parma and his return to Milan in June 1829. With no firm contract for a new opera for Bellini, Pacini's success with his
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The title roleâ"one of the most taxing and wide-ranging parts in the entire repertory"âis one of the most difficult in the
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received 24 consecutive performances between 16 July and 23 August 1829, thus outnumbering those for Pacini's opera.
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2183:"Vincenzo Bellini": Outline of his life (in English) and list of critical editions of his works published by Ricordi
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After rehearsals began on 5 December, Pasta balked at singing the "Casta diva" in act 1, now one of the most famous
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down. Then, with the mistletoe in hand, she approaches the altar with a plea to the moon (the "Chaste Goddess"): (
1036:"Dell'aura tua profetica" / "With thy prophetic aura, imbue her, O terrible God".) All leave to go to the temple.
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During the later 20th century, with the bel canto revival, the most prolific Norma was the Greek-American soprano
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who played the role in New York and London. Notable exponents of the title role in the post-war period have been
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in 1851. The first book edition came in 1909, and the first performance of the play was at a student theatre in
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Rutherford, Susan (2007). "'La cantante delle passioni': Giuditta Pasta and the Idea of Operatic Performance".
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360:. On Bellini's part, there had long been a feeling of rivalry with Pacini ever since the failure of his own
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care for beauty of tone and correct emission." According to the Met Opera Archives, Lehmann said this to
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tackled the role in 1970. Throughout the decade, four other bel canto specialists debuted their Normas:
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Throughout the 20th century, many singers have tackled the role of Norma. In the early 1920s, it was
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674:, the American divas who began as mezzo-sopranos and eventually started singing soprano repertoire.
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joins her, declaring "your pyre is mine as well. There, a holier and everlasting love will begin".
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526:, and in Mexico in May 1950 conducted by Guido Picco. In London in 1952, Callas sang Norma at the
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and in the autumn of 2017 at the Metropolitan Opera in New York. On 13 April 2013, the Italian
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has played the role often, including in 2013 and 2017 at the Metropolitan Opera in New York.
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also added the role to her repertory, one to which she returned in the autumn 2014 at the
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English translation partly taken from 1964 Decca recording with Joan Sutherland as Norma
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During the 1980s and 1990s, the role of Norma was performed by such diverse singers as
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once remarked that the singing of all three BrĂŒnnhilde roles of Wagner's opera cycle
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The action takes place in Gaul under the Roman occupation, and is centered on the
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1718:"Soprano Joan Sutherland, legendary opera star and bel canto singer, dies at 83"
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whoâlate in his lifeâmade some perceptive comments in a letter of May 1898 to
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352:) and also of "a very rich woman", who is identified by Weinstock as Contessa
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In the 1960s, two very different performers sang the role: the Australian
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Giulia Grisi dressed as Norma. In 1831, she also sang the role of Adalgisa
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Friedlaender, Maryla (7 February 1944). "What Wagner Thought of Norma".
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1267:, David Kimbell states that "Bellini's most astonishing achievement in
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However, Bellini also noted that on the second performance evening of
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acknowledged that the plot of her 1993 historical novel/fantasy book
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Lippmann, Friedrich; McGuire, Simon (1998), "Bellini, Vincenzo", in
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cities outside of Italy, and then he gives details of those beyond.
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1773:, 20 May 2015. Remigio also sang the minor role of Clotilde in the
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in 1927 (the first performance of the opera there since 1892) with
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as Oroveso, Giulia Grisi (as Norma), Dominique Conti as Pollione.
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For the forthcoming autumn/winter season, La Scala had engaged
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in October/November 1956. In 1960, she performed Norma in the
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quickly " the whole of Europe in the space of a few years".
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change, the characters to produce more effect, if need be.
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in November/December 1948 followed by the second at the
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Libretto & details, incl. pages from original score
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The Bel Canto Operas of Rossini, Donizetti, and Bellini
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1316:) is an eight-page drama written as an opera parody by
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claimed that tragedy causes the spectator to lose the
218:
Giuditta Pasta, for whom the role of Norma was created
2615:
1271:
is, amid all the more obvious excitements of musical
729:(who performs more frequently the role of Adalgisa).
222:
Crivelli and Company were managing both La Scala and
2098:. Vol. 3. London: Macmillan. pp. 617â619.
643:
called her "the greatest female voice of all time."
2243:(The Master Musicians Series), London: J. M. Dent.
1028:
1544:Bellini to Vincenzo Ferlito, 28 December 1831, in
1263:Commenting on the overall quality of the music in
1188:
518:. The following year, she appeared in the role at
170:The opera is regarded as a leading example of the
1906:
337:describes as "chill indifference". To his friend
2639:
376:with the original cast that he felt vindicated.
2212:, vol. 1, pp. 389â397. London: Macmillan.
639:. Following Sutherland's 1963 debut as Norma,
2396:
2083:
1683:
1671:
1581:
666:. Also singing Norma during this period were
2069:. New York: Penguin Putnam. pp. 46â55.
1626:
1609:
1162:
1112:
569:
283:he was satisfied enough to set it to music.
1792:"Per la superdiva Bartoli un debutto fuori
1592:
1590:
522:in Venice in January 1950, this time under
2403:
2389:
2185:on ricordi.it. Retrieved 13 December 2013.
2112:
2057:Kimbell, David (2001). "Vincenzo Bellini:
1933:Verdi to Camille Belaigue, 2 May 1898, in
1647:
40:
2316:International Music Score Library Project
2269:Thiellay, Jean; Thiellay, Jean-Philippe,
2149:
1945:
1943:
1934:
1569:
1557:
1545:
1532:
1520:
1508:
1507:Bellini to Florimo, 26 December 1831, in
1495:
1483:
1471:
1426:
1413:
1401:
1131:approaches, the children are taken away.
2259:, New York: Cambridge University Press.
1712:
1587:
1337:
1278:
1215:
1118:
958:, Gallic priests, warriors and soldiers
789:
573:
323:
314:
306:
298:
290:
213:
205:
2371:Norma : a grand opera, in two acts
2056:
1978:
1949:
1627:Friedlaender, Maryla (22 March 1954). "
1597:
1458:
1439:
1425:Bellini to Pasta, 1 September 1831, in
438:Wagner also praised Romani's libretto:
2640:
2190:Bellini: Life, Times, Music: 1801â1835
2040:Maria Callas: The Tigress and the Lamb
1940:
1526:
1477:
1454:
1452:
1450:
1448:
755:: this version was also recorded with
475:received its first performance at the
286:
245:successfully staged in March 1831 and
201:
2384:
2289:Vincenzo Bellini: A Guide to Research
1979:Hanssen, Jens-Morten (10 July 2005).
1960:
1958:
1177:
1139:/ "O faithless man, do not tremble".
1012:Time: c. 100-50 BC (Roman occupation)
479:in New York on 27 February 1890 with
122:
2410:
2034:
2022:
1966:The World as Will and Representation
1912:
1877:"Biography - Angela Meade - Soprano"
1659:
1314:Norma eller En Politikers KjĂŠrlighed
822:Premiere cast, 26 December 1831
295:Poster advertising the 1831 premiere
2229:, Portland, Oregon: Amadeus Press.
1445:
1379:, an asteroid named after the opera
908:in the grove of the Irminsul statue
887:Norma's father; chief of the druids
13:
2172:
1955:
1045:
483:singing the title role in German.
46:Domenico Donzelli, Giuditta Pasta,
14:
2704:
2668:Opera world premieres at La Scala
2303:
2209:The New Grove Dictionary of Opera
2095:The New Grove Dictionary of Opera
1596:Essay on the opera by Wagner, in
808:Roles, voice types, premiere cast
402:
2625:
2601:
2600:
2487:
2192:. London, Sanctuary Publishing.
2155:Bellini: His Life and His Operas
1320:. It is influenced by Bellini's
1100:Later that night: The Temple of
1082:Problems playing this file? See
1061:
1030:Scene 1: The grove of the druids
387:, the theatre was full. In all,
48:and Giulia Grisi (original cast)
2573:Teatro Massimo Bellini, Catania
1995:
1972:
1927:
1918:
1883:
1869:
1845:
1827:
1810:
1784:
1737:
1706:
1689:
1620:
1603:
1538:
1302:
1190:Scene 3: The temple of Irminsul
966:
542:; and then she appeared at the
491:The Metropolitan Opera revived
486:
356:, the mistress of the composer
303:Domenico Donzelli sang Pollione
2188:Galatopoulos, Stelios (2002),
1501:
1464:
1432:
1419:
558:with the collaboration of the
1:
2339:Opera Company of Philadelphia
1777:'s 1994 staging conducted by
1383:
1359:
1309:Norma, or A Politician's Love
319:Vincenzo Negrini sang Oroveso
210:Librettist Felice Romani
1983:. National Library of Norway
1853:"Bologna â Teatro Comunale:
1839:Seen and Heard International
1761:Venezia â Teatro La Fenice:
1631:Challenged Richard Wagner".
552:Ancient Theatre of Epidaurus
7:
2365:online opera guide on Norma
2067:The New Penguin Opera Guide
1896:The Illustrated London News
1370:
1000:
261:) and the well-known tenor
159:. It was first produced at
10:
2709:
2678:Operas by Vincenzo Bellini
2273:, Paris: Actes Sud, 2013,
1889:"The Theatres â April 18:
1818:"Cecilia Bartoli as Norma"
1363:
983:
972:Adalgisa is often sung by
738:Teatro Comunale di Bologna
508:Teatro Comunale di Firenze
311:Giulia Grisi sang Adalgisa
90:26 December 1831
2693:Libretti by Felice Romani
2653:Fiction set in Roman Gaul
2597:
2581:
2560:
2532:
2514:
2418:
2127:10.1017/S0954586707002303
1684:Maguire & Forbes 1998
1672:Maguire & Forbes 1998
1582:Maguire & Forbes 1998
1164:Scene 1: Norma's dwelling
1114:Scene 2: Norma's dwelling
953:
570:Singers in the title role
467:held in the cathedral in
153:Norma, or The Infanticide
85:
71:
63:
53:
39:
28:
23:
16:Opera by Vincenzo Bellini
2547:Vaga luna, che inargenti
2523:Meco all'altar di Venere
2467:I Capuleti e i Montecchi
2042:. London: Robson Books.
1835:"Mariella Devia's Norma"
1211:
1150:
1016:
785:
748:) the role was taken by
2663:Italian-language operas
2329:(www.librettidopera.it)
2253:Rosselli, John (1996),
2115:Cambridge Opera Journal
1157:Orchestral introduction
697:. Other Normas include
594:Der Ring des Nibelungen
562:, in the production of
538:in November 1954 under
149:Norma, ou L'infanticide
80:Norma, ou L'infanticide
2568:Teatro Bellini, Naples
2541:Composizioni da Camera
2286:Willier, Stephen Ace,
2239:Orrey, Leslie (1973),
1969:, volume 2, chapter 37
1261:
1225:
1127:
1050:
839:High-priestess of the
803:
762:as Adalgisa. In 2011,
736:performed as Norma at
579:
536:Lyric Opera of Chicago
453:
320:
312:
304:
296:
277:
219:
211:
2673:Operas based on plays
2323:on opera.stanford.edu
2321:Libretto (in Italian)
2007:The Forests of Avalon
2002:Marion Zimmer Bradley
1703:, CD 4. EMI Classics.
1352:was based on that of
1344:Marion Zimmer Bradley
1338:Marion Zimmer Bradley
1279:Schopenhauer's praise
1245:
1219:
1124:Alessandro Sanquirico
1122:
1049:
800:Her Majesty's Theatre
793:
646:The Dutch coloratura
577:
463:from the rule of the
440:
324:Premiere performances
318:
310:
302:
294:
272:
217:
209:
167:on 26 December 1831.
2683:Operas set in France
2088:(1998). "Norma". In
1851:Gabriele Cesaretti,
1781:and recorded by EMI.
942:Pollione's companion
837:daughter of Oroveso,
560:Greek National Opera
2350:Detroit Opera House
2292:. Routledge, 2002.
2256:The Life of Bellini
2157:. New York: Knopf.
1981:"Facts about Norma"
1723:The Washington Post
1716:(12 October 2010).
1662:, pp. 324â336.
1584:, pp. 617â619.
1572:, pp. 107â108.
1560:, pp. 270â275.
810:
768:San Francisco Opera
744:) and 2013 (at the
499:in the title role.
287:Performance history
202:Composition history
2533:Other compositions
2151:Weinstock, Herbert
1790:Alberto Mattioli,
1701:La Divina Complete
1699:and Maria Callas.
1695:Interview between
1226:
1179:Scene 2: The grove
1128:
1051:
806:
804:
764:Sondra Radvanovsky
757:coloratura soprano
683:Anna Tomowa-Sintow
656:Montserrat Caballé
580:
546:in New York under
544:Metropolitan Opera
477:Metropolitan Opera
424:interpolated arias
321:
313:
305:
297:
267:Saverio Mercadante
220:
212:
196:Montserrat Caballé
2613:
2612:
2496:Beatrice di Tenda
2435:Bianca e Fernando
2427:Adelson e Salvini
2279:978-2-330-02377-5
2198:978-1-86074-405-1
2086:Forbes, Elizabeth
2024:Original libretto
1366:Norma discography
1066:
962:
961:
949:Lorenzo Lombardi
879:Domenico Donzelli
746:Salzburg Festival
707:Galina Gorchakova
703:Fiorenza Cedolins
679:Katia Ricciarelli
652:Radmila BakoÄeviÄ
648:Cristina Deutekom
641:Luciano Pavarotti
528:Royal Opera House
339:Francesco Florimo
263:Domenico Donzelli
233:Beatrice di Tenda
111:
110:
102:Teatro alla Scala
2700:
2630:
2629:
2621:
2604:
2603:
2491:
2412:Vincenzo Bellini
2405:
2398:
2391:
2382:
2381:
2314:: Scores at the
2283:
2223:Osborne, Charles
2168:
2146:
2109:
2084:Maguire, Simon;
2080:
2053:
2031:
2010:
1999:
1993:
1992:
1990:
1988:
1976:
1970:
1962:
1953:
1947:
1938:
1931:
1925:
1922:
1916:
1910:
1904:
1903:, 19 August 1843
1887:
1881:
1880:
1873:
1867:
1866:
1849:
1843:
1831:
1825:
1816:Joseph Newsome,
1814:
1808:
1806:
1788:
1782:
1775:Ravenna Festival
1772:
1758:
1741:
1735:
1734:
1732:
1730:
1710:
1704:
1693:
1687:
1681:
1675:
1669:
1663:
1657:
1651:
1650:, p. 123, n. 77.
1645:
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1607:
1601:
1594:
1585:
1579:
1573:
1567:
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1549:
1542:
1536:
1535:, pp. 79â82
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1411:
1405:
1399:
1349:The Forest House
1242:
1234:Camille Belaigue
1068:
1067:
1048:
977:
970:
897:Vincenzo Negrini
829:Alessandro Rolla
825:Capo d'orchestra
811:
809:
805:
635:and the Turkish
354:Giulia Samoyloff
157:Alexandre Soumet
137:Vincenzo Bellini
126:
124:[ËnÉrma]
121:
105:
97:
95:
76:Alexandre Soumet
44:
34:Vincenzo Bellini
21:
20:
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2609:
2593:
2577:
2556:
2528:
2510:
2414:
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2281:
2175:
2173:Further reading
2165:
2106:
2077:
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2014:
2013:
2000:
1996:
1986:
1984:
1977:
1973:
1963:
1956:
1948:
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1911:
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1842:
1841:, 16 April 2013
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1658:
1654:
1648:Rutherford 2007
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967:
934:Marietta Sacchi
838:
823:
807:
788:
753:Cecilia Bartoli
727:Carmela Remigio
723:Edita GruberovĂĄ
715:Nelly Miricioiu
711:Maria Guleghina
672:Shirley Verrett
633:Joan Sutherland
572:
540:Nicola Rescigno
532:Joan Sutherland
489:
405:
358:Giovanni Pacini
326:
289:
257:(the sister of
239:With Bellini's
204:
192:Joan Sutherland
174:genre, and the
147:after the play
135:in two acts by
129:tragedia lirica
119:
107:
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2516:
2515:Opera excerpts
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2492:
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2416:
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2400:
2393:
2385:
2379:
2378:
2377:on archive.org
2368:
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2305:
2304:External links
2302:
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2121:(2): 107â138.
2110:
2104:
2081:
2075:
2063:Holden, Amanda
2054:
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2012:
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1994:
1971:
1954:
1939:
1935:Weinstock 1971
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1833:Jack Buckley,
1826:
1824:, 30 May 2013.
1809:
1807:, 1 July 2010.
1783:
1736:
1714:Midgette, Anne
1705:
1688:
1686:, p. 618.
1676:
1674:, p. 617.
1664:
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1586:
1574:
1570:Weinstock 1971
1562:
1558:Weinstock 1971
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1546:Weinstock 1971
1537:
1533:Weinstock 1971
1525:
1523:, p. 268.
1521:Weinstock 1971
1513:
1509:Weinstock 1971
1500:
1498:, p. 105.
1496:Weinstock 1971
1488:
1484:Weinstock 1971
1476:
1472:Weinstock 1971
1463:
1444:
1431:
1427:Weinstock 1971
1418:
1416:, p. 100.
1414:Weinstock 1971
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1402:Weinstock 1971
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1364:Main article:
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926:Norma's friend
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852:Giuditta Pasta
849:
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831:
820:
815:
802:, London, 1843
796:Luigi Lablache
794:Act 2 finale,
787:
784:
776:Mariella Devia
740:. In 2010 (in
687:Marisa Galvany
604:Henry Krehbiel
600:Herald Tribune
571:
568:
564:Alexis Minotis
524:Antonino Votto
516:Tullio Serafin
488:
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408:Richard Wagner
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403:Later revivals
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247:Giuditta Pasta
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2204:Stanley Sadie
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2017:Cited sources
2009:
2008:
2004:, preface to
2003:
1998:
1982:
1975:
1968:
1967:
1961:
1959:
1951:
1946:
1944:
1937:, p. 279
1936:
1930:
1921:
1914:
1909:
1902:
1898:
1897:
1892:
1886:
1878:
1872:
1862:
1858:
1856:
1848:
1840:
1836:
1830:
1823:
1819:
1813:
1803:
1802:
1797:
1795:
1787:
1780:
1779:Riccardo Muti
1776:
1769:
1765:
1764:
1755:
1754:
1753:la Repubblica
1749:
1745:
1740:
1725:
1724:
1719:
1715:
1709:
1702:
1698:
1697:Edward Downes
1692:
1685:
1680:
1673:
1668:
1661:
1656:
1649:
1644:
1637:. p. 32.
1636:
1635:
1630:
1623:
1615:
1614:
1606:
1599:
1593:
1591:
1583:
1578:
1571:
1566:
1559:
1554:
1548:, p. 106
1547:
1541:
1534:
1529:
1522:
1517:
1511:, p. 105
1510:
1504:
1497:
1492:
1486:, p. 104
1485:
1480:
1474:, p. 104
1473:
1470:Sherillo, in
1467:
1460:
1455:
1453:
1451:
1449:
1441:
1435:
1429:, p. 100
1428:
1422:
1415:
1410:
1404:, p. 89.
1403:
1398:
1394:
1391:
1390:
1378:
1375:
1374:
1367:
1357:
1355:
1351:
1350:
1345:
1335:
1333:
1329:
1328:
1323:
1319:
1315:
1311:
1310:
1300:
1298:
1293:
1289:
1285:
1276:
1274:
1270:
1266:
1260:
1258:
1257:
1252:
1251:
1244:
1240:
1235:
1231:
1223:
1218:
1209:
1205:
1201:
1197:
1191:
1186:
1180:
1175:
1171:
1165:
1158:
1155:
1154:
1148:
1144:
1140:
1136:
1132:
1125:
1121:
1115:
1110:
1106:
1105:
1103:
1097:
1095:
1087:
1085:
1073:
1072:Claudia Muzio
1058:
1041:
1037:
1031:
1024:
1021:
1020:
1011:
1009:
1005:
1004:
998:
994:
991:
990:love triangle
975:
969:
965:
957:
952:
948:
945:
943:
939:
938:
935:
932:
929:
927:
923:
922:
919:
916:
914:
911:
909:
907:
902:
901:
898:
895:
893:
890:
888:
884:
883:
880:
877:
875:
872:
870:
869:
865:
862:
857:
856:
853:
850:
848:
845:
843:
842:
834:
833:
830:
826:
821:
819:
816:
813:
812:
801:
797:
792:
783:
781:
777:
773:
769:
765:
761:
758:
754:
751:
750:mezzo-soprano
747:
743:
739:
735:
734:Daniela DessĂŹ
730:
728:
724:
720:
719:June Anderson
716:
712:
708:
704:
700:
699:Hasmik Papian
696:
692:
691:Gwyneth Jones
688:
684:
680:
675:
673:
669:
665:
664:Renata Scotto
661:
660:Beverly Sills
657:
653:
649:
644:
642:
638:
634:
631:
626:
624:
620:
619:Rosa Ponselle
616:
615:Claudia Muzio
612:
607:
605:
601:
596:
595:
590:
589:Lilli Lehmann
585:
576:
567:
565:
561:
557:
553:
549:
545:
541:
537:
533:
529:
525:
521:
517:
513:
509:
505:
500:
498:
497:Rosa Ponselle
494:
484:
482:
481:Lilli Lehmann
478:
474:
470:
466:
462:
458:
452:
450:
446:
439:
436:
434:
429:
425:
421:
417:
413:
409:
400:
398:
393:
390:
386:
381:
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374:
369:
365:
364:
359:
355:
351:
346:
342:
340:
336:
331:
317:
309:
301:
293:
284:
281:
276:
271:
268:
264:
260:
256:
251:
248:
244:
243:
242:La sonnambula
237:
235:
234:
229:
225:
216:
208:
199:
197:
193:
189:
185:
181:
180:Rosa Ponselle
177:
173:
168:
166:
162:
158:
154:
150:
146:
145:Felice Romani
142:
138:
134:
130:
125:
117:
116:
103:
88:
84:
81:
77:
74:
70:
66:
62:
59:
58:Felice Romani
56:
52:
43:
38:
35:
31:
27:
22:
19:
2599:
2539:
2502:
2494:
2482:
2481:
2473:
2465:
2457:
2451:La straniera
2449:
2441:
2433:
2425:
2364:
2356:
2344:
2333:
2310:
2288:
2270:
2255:
2240:
2226:
2207:
2189:
2179:Casa Ricordi
2154:
2118:
2114:
2093:
2066:
2058:
2039:
2028:Google Books
2016:
2015:
2005:
1997:
1985:. Retrieved
1974:
1964:
1952:, p. 52
1950:Kimbell 2001
1929:
1920:
1915:, p. 5.
1908:
1894:
1890:
1885:
1871:
1865:(in Italian)
1860:
1854:
1847:
1838:
1829:
1821:
1812:
1805:(in Italian)
1799:
1793:
1786:
1771:(in Italian)
1767:
1762:
1757:(in Italian)
1751:
1744:Dinko Fabris
1739:
1727:. Retrieved
1721:
1708:
1700:
1691:
1679:
1667:
1655:
1643:
1632:
1628:
1622:
1616:. p. 5.
1611:
1605:
1600:, p. 51
1598:Kimbell 2001
1577:
1565:
1553:
1540:
1528:
1516:
1503:
1491:
1479:
1466:
1461:, p. 51
1459:Kimbell 2001
1442:, p. 51
1440:Kimbell 2001
1434:
1421:
1409:
1397:
1388:
1387:
1353:
1347:
1341:
1325:
1321:
1318:Henrik Ibsen
1313:
1312:(Norwegian:
1307:
1306:
1303:Ibsen parody
1296:
1291:
1288:will to live
1284:Schopenhauer
1282:
1268:
1264:
1262:
1254:
1250:La straniera
1248:
1246:
1227:
1221:
1220:Drawing for
1206:
1202:
1198:
1194:
1189:
1183:
1178:
1172:
1168:
1163:
1156:
1145:
1141:
1137:
1133:
1129:
1113:
1107:
1104:in the grove
1099:
1098:
1090:
1081:
1074:, circa 1936
1057:"Casta Diva"
1038:
1034:
1029:
995:
987:
968:
941:
925:
918:Giulia Grisi
904:
886:
859:
836:
780:Angela Meade
771:
731:
676:
668:Grace Bumbry
645:
637:Leyla Gencer
627:
608:
599:
592:
581:
548:Fausto Cleva
512:Teatro ColĂłn
504:Maria Callas
501:
492:
490:
487:Modern times
472:
457:Risorgimento
454:
441:
437:
432:
427:
411:
406:
396:
394:
388:
384:
382:
377:
371:
368:Il Talismano
367:
361:
347:
343:
327:
279:
278:
273:
255:Giulia Grisi
252:
240:
238:
231:
227:
221:
188:Leyla Gencer
184:Maria Callas
169:
152:
148:
128:
114:
113:
112:
79:
18:
2658:Infanticide
2648:1831 operas
2359:discography
2282:(in French)
2036:Bret, David
1822:Opera Today
1438:Romani, in
1273:Romanticism
1237: [
695:Jane Eaglen
2642:Categories
2504:I puritani
1863:, undated.
1861:OperaClick
1768:OperaClick
1748:"La Norma"
1729:24 October
1634:Opera News
1613:Opera News
1384:References
1360:Recordings
1327:Andhrimner
1084:media help
924:Clotilde,
903:Adalgisa,
858:Pollione,
818:Voice type
611:Rosa Raisa
410:conducted
94:1831-12-26
54:Librettist
2589:Bel canto
2561:Namesakes
2443:Il pirata
2206:, (ed.),
2143:191609009
1801:La Stampa
1660:Bret 1997
1377:555 Norma
1332:Trondheim
1256:Il pirata
1224:(undated)
906:priestess
885:Oroveso,
864:proconsul
774:soprano,
772:bel canto
732:In 2008,
520:La Fenice
373:Il pirata
335:Weinstock
224:La Fenice
172:bel canto
2606:Category
2355:Further
2225:(1994),
2181:(pub.),
2153:(1971).
2135:27607154
2038:(1997).
1987:13 April
1913:Libretto
1371:See also
1102:Irminsul
1094:cavatina
1023:Sinfonia
1001:Synopsis
954:Druids,
940:Flavio,
930:soprano
742:Dortmund
465:Bourbons
449:Spontini
161:La Scala
141:libretto
120:Italian:
86:Premiere
78:'s play
72:Based on
64:Language
2582:Related
2486:(1831)
2348:at the
2337:at the
2271:Bellini
2241:Bellini
2092:(ed.).
2065:(ed.).
1342:Writer
1228:It was
1006:Place:
984:Summary
913:soprano
847:soprano
835:Norma,
760:Sumi Jo
689:, Dame
623:EMI/HMV
602:critic
584:soprano
469:Palermo
176:soprano
127:) is a
104:, Milan
92: (
67:Italian
2688:Operas
2618:Portal
2507:(1835)
2499:(1833)
2478:(1831)
2470:(1830)
2462:(1829)
2454:(1829)
2446:(1827)
2438:(1826)
2430:(1825)
2419:Operas
2296:
2277:
2263:
2247:
2233:
2216:
2196:
2161:
2141:
2133:
2102:
2073:
2061:". In
2046:
1901:p. 124
1334:1994.
946:tenor
841:druids
693:, and
662:, and
617:, and
556:Greece
461:Sicily
378:Pirata
350:claque
194:, and
2632:Opera
2483:Norma
2459:Zaira
2357:Norma
2345:Norma
2334:Norma
2311:Norma
2139:S2CID
2131:JSTOR
2059:Norma
1891:Norma
1859:, on
1855:Norma
1837:, on
1820:, in
1794:Norma
1763:Norma
1629:Norma
1389:Notes
1354:Norma
1322:Norma
1297:Norma
1292:Norma
1269:Norma
1265:Norma
1253:, in
1241:]
1222:Norma
1212:Music
1151:Act 2
1017:Act 1
956:bards
874:tenor
861:Roman
814:Role
786:Roles
493:Norma
473:Norma
445:Gluck
433:Norma
428:Norma
412:Norma
397:Norma
389:Norma
385:Norma
363:Zaira
330:arias
280:Norma
228:Norma
165:Milan
155:) by
139:with
133:opera
115:Norma
30:Opera
24:Norma
2294:ISBN
2275:ISBN
2261:ISBN
2245:ISBN
2231:ISBN
2214:ISBN
2194:ISBN
2159:ISBN
2100:ISBN
2071:ISBN
2044:ISBN
1989:2015
1731:2010
1008:Gaul
892:bass
868:Gaul
725:and
670:and
630:Dame
447:and
420:1837
416:Riga
2375:BYU
2123:doi
1893:",
1766:",
866:in
554:in
418:in
414:at
163:in
143:by
131:or
32:by
2644::
2137:.
2129:.
2119:19
2117:.
1957:^
1942:^
1899:,
1798:,
1750:,
1746:,
1720:.
1589:^
1447:^
1239:fr
827::
721:,
717:,
713:,
709:,
705:,
701:,
685:,
681:,
658:,
654:,
613:,
606:.
566:.
236:.
198:.
190:,
186:,
2620::
2525:"
2521:"
2404:e
2397:t
2390:v
2167:.
2145:.
2125::
2108:.
2079:.
2052:.
2030:)
2026:(
1991:.
1879:.
1857:"
1796:"
1733:.
1086:.
976:.
451:.
151:(
118:(
96:)
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