{"id":15165,"date":"2022-06-21T12:27:01","date_gmt":"2022-06-21T10:27:01","guid":{"rendered":"https:\/\/operacarlofelicegenova.it\/spettacolo\/norma\/"},"modified":"2023-05-26T11:37:12","modified_gmt":"2023-05-26T09:37:12","slug":"norma","status":"publish","type":"show","link":"https:\/\/operacarlofelicegenova.it\/en\/show\/norma\/","title":{"rendered":"Norma"},"content":{"rendered":"\n

A lyric tragedy in two acts<\/em>Music by Vincenzo BelliniLibretto by Felice Romani from Norma, ou<\/em> L’infanticide<\/em> by Louis-Alexandre Soumet<\/p>\n\n

Critical edition byRiccardo Minasi e Maurizio Biondi<\/p>\n\n

Copyright and publishingAlkor\/B\u00e4renreiter, Kassel<\/p>\n\n

Italy RepresentativeSonzogno Music House of Piero Ostali, Milano<\/p>\n\n

…<\/p>\n\n

<\/div>\n\n

Norma<\/em>Vasilisa Berzhanskaya<\/strong>Gilda Fiume <\/strong>(3, 6, 11)<\/p>\n\n

Adalgisa<\/em>Carmela Remigio<\/strong>Anna Dowsley <\/strong>(3, 6, 11)<\/p>\n\n

Pollione<\/em>Stefan Pop<\/strong>Antonio Corian\u00f2 <\/strong>(3, 6, 11) <\/em><\/p>\n\n

Oroveso<\/em>Alessio Cacciamani<\/strong>Mariano Buccino <\/strong>(3, 6, 11)<\/p>\n\n

Clotilde<\/em>Simona Di Capua<\/strong><\/p>\n\n

Flavio<\/em>Blagoj Nacoski<\/strong><\/p>\n\n

<\/div>\n\n

Conductorand orchestratorRiccardo Minasi<\/strong><\/p>\n\n

DirectorStefania Bonfadelli<\/strong><\/p>\n\n

Scenic designerSerena Rocco<\/strong><\/p>\n\n

Costume designerValeria Donata Bettella<\/strong><\/p>\n\n

ChoreographerRan Arthur Braun<\/strong><\/p>\n\n

Lighting designerDaniele Naldi<\/strong><\/p>\n\n

New staging byFondazione Teatro Carlo Felice di Genova<\/strong>co-produced withFondazione Teatro Comunale di Bologna<\/strong><\/p>\n\n

<\/p>\n\n

Orchestra, chorus and Technicians<\/strong>of Opera Carlo Felice Genova<\/strong>chorusmasterClaudio Marino Moretti<\/strong><\/p>\n\n

Performers of the Bologna Theatre School<\/strong>Alessandra Galante Garrone<\/strong><\/p>\n\n

Thanks to FILARMONICA SESTRESE “C. Corradi – Ghio S.<\/strong>“<\/p>\n\n

<\/div>\n\n

Staging directorLuciano Novelli<\/strong><\/p>\n\n

Stage musical directorPaloma Brito<\/strong><\/p>\n\n

R\u00e9p\u00e9titeursSirio Restani<\/strong>, Antonella Poli<\/strong><\/p>\n\n

Stage musical assistantsAndrea Gastaldo<\/strong>, Anna Maria<\/strong> Pascarella<\/strong><\/p>\n\n

other Choir MasterPatrizia Priarone<\/strong><\/p>\n\n

Lighting MasterSilvia Gasperini<\/strong><\/p>\n\n

Supertitle MasterSimone Giusto<\/strong><\/p>\n\n

Head of musical archivesSimone Brizio<\/strong><\/p>\n\n

Scenic directorAlessandro Pastorino<\/strong><\/p>\n\n

Vice scenic directorSumireko Inui<\/strong><\/p>\n\n

Consolle supervisorAndrea Musenich<\/strong><\/p>\n\n

Stage technicians foremanGianni Cois<\/strong><\/p>\n\n

Tooling foremanTiziano Baradel<\/strong><\/p>\n\n

Audio\/video foremanWalter Ivaldi<\/strong><\/p>\n\n

Head of tailoring, shoemaking, make-up and wigsElena Pirino<\/strong><\/p>\n\n

Director’s assistantCarmelo Al\u00f9<\/strong><\/p>\n\n

Costume assistantDonato Didonna<\/strong><\/p>\n\n

Scene AssistantMaria Ianesi<\/strong><\/p>\n\n

Make-up and hair co-ordinatorRaul Ivaldi<\/strong><\/p>\n\n

Sets and propsFondazione Teatro Comunale di Bologna<\/strong>and Fondazione Teatro Carlo Felice<\/strong><\/p>\n\n

Costume designerFondazione Teatro Comunale di Bologna<\/strong>by Opera Carlo Felice<\/strong>andSartoria Klemann<\/strong><\/p>\n\n

FootwearC.T.C. Pedrazzoli<\/strong><\/p>\n\n

WigsMario Audello<\/strong><\/p>\n\n

SupertitlesPrescott Studio<\/strong><\/p>\n\n

<\/div>\n\n

TITLE SPONSOR\"Eni<\/p>\n\n

<\/div>\n\n

Opera in brief<\/strong>by Ludovica Gelpi<\/em><\/p>\n\n

<\/p>\n\n

The composition of Norma<\/em> began in 1831. Bellini worked with librettist Felice Romani on a tragic subject, Norma, ou L\u2019infanticide<\/em>, by French playwright Alexandre-Louis Soumet, a tragedy that was performed in Paris with great success in April of the same year. Only three months after the work began, Norma<\/em> was staged at La Scala, it was 26 December. The first performance did not captivate the public, so much so that Bellini himself called it a fiasco. The reasons were probably circumstantial, from the second performance in fact the title became more and more popular, to the point that it was soon revived in several Italian and European theatres. The winning elements can be traced back to both the choice of subject and the way it is transposed to music.<\/p>\n\n

Soumet’s text, suitably adapted for transposition, is full of fascinating elements. The story is set in Gaul, at the time of the Roman invasion, particularly in the sacred places of the Druids. We therefore have two separate dimensions: the mysterious Druidic culture, with sacred rituals and a spirituality linked to the cult of nature, and the Roman culture, which instead represents a more materialistic dimension. The protagonists on stage experience the tension of the contrast between a sense of cultural belonging and the feelings that challenge it. Norma is a multi-faceted tragic heroine, the very symbol of the Druid civilisation, as a priestess, and at the same time in love with the Roman consul Pollione, father of her two sons. Her story is articulated between a spirituality linked to her origins and her fundamental role in the society she represents, and her feelings that lead her to break her vows. Another prominent figure is Adalgisa, herself a priestess but younger. Her character represents a premature version of the protagonist. One of the purest and most intense examples of female friendship and solidarity is staged between the two. Pollione also experiences the weight of his responsibilities, but seems to escape them by allowing himself to be carried away by the feelings that lead him to love and then betray Norma. It is only in the finale that Norma and Pollione redeem themselves, meeting the tragic fate that will see them united in death. Bellini’s approach to the text emphasises and amplifies the presence of so many different dimensions, with a style ranging from recitative with an almost hieratic rhythm, to the more melodious bel canto of some arias. A key element is the chorus, which brings to the stage the Gauls who are oppressed but ready to rise up forcefully. His role is therefore of great importance in the portrayal of the vibrant tension throughout the story. To fulfil this fundamental dramaturgical function, the choral mass is significantly present, and takes on majestic dimensions.<\/p>\n\n

Norma’s<\/em> great influence on the opera to come is undisputed; it played a vital role in paving the way for what would later become 19th century Italian melodrama. Among others, Richard Wagner was an ardent admirer, so much so that he wrote: ‘How fruitful, compared to the bailamme of musical organisation of the new German opera composers, the Italian operatic form and manner is demonstrated by Bellini with his Norma<\/em> in which music and poetry rise to the level of the ancient Greeks’.<\/p>\n\n

<\/div>\n\n

There has always been much debate around the study of vocal registers in Norma.<\/em> The first interpreter of the character of Norma, Giuditta Pasta, had in fact a unique vocality, with a singularly wide range<\/em>, and in Bellini’s writing, the vocal line of Norma can adapt to both a mezzo-soprano and a soprano register. With the aim of highlighting all the possibilities of vocal extension, the critical edition edited by Riccardo Minasi and Maurizio Biondi includes two variants, one with a mezzo-soprano as Norma, the other with a soprano (with due adjustments in the orchestration). For this production, the Opera Carlo Felice Genova offers the public both versions, with two different casts featuring a mezzo-soprano Norma (Vasilisa Berzhanskaya) and a soprano Norma (Gilda Fiume).<\/p>\n\n

<\/div>\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

The sacrilege of two priestesses in the Druidic forest, love overcoming the thirst for revenge, under the icy moonlight.<\/p>\n","protected":false},"featured_media":14760,"template":"","discipline":[202],"season":[123],"tag_spettacoli":[133,40,134],"class_list":["post-15165","show","type-show","status-publish","has-post-thumbnail","hentry","tag_spettacoli-norma","tag_spettacoli-teatro-carlo-felice","tag_spettacoli-vincenzo-bellini"],"acf":[],"_links":{"self":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show\/15165","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show"}],"about":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/types\/show"}],"version-history":[{"count":0,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show\/15165\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media\/14760"}],"wp:attachment":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media?parent=15165"}],"wp:term":[{"taxonomy":"discipline","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/discipline?post=15165"},{"taxonomy":"season","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/season?post=15165"},{"taxonomy":"tag_spettacoli","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/tag_spettacoli?post=15165"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}