The Incomparable Norma 03-01-2008 It's been called a vocal Mount Everest, one of the most thrilling works in the operatic repertoire, and this April, Bellini's ultimate masterpiece Norma dazzles Philadelphia with a stunning international cast of stars.Music Director Corrado Rovaris leads this authentically-Italian production, which is realized by veteran director Kay Walker Castaldo. Vincenzo Bellini was 30 years old and had the recent compositions of I Capuleti e i Montecchi and La sonnambula behind him when he was commissioned to write a new opera for La Scala for the fall of 1831. Along with his librettist Felice Romani, they chose a play that opened in Paris earlier that year called Norma, ossia L'infanticidio (Norma, or The Infanticide).The opera was written during the summer and fall, with rehearsals beginning on December 5, 1831, prior to its December 16th opening night. Norma tells the story of the title character, a Druid priestess who falls in love and mothers two children with the leader of the opposing Roman army, Pollione.Pollione, however, becomes taken with Adalgisa, a young virgin at the temple, and convinces Adalgisa to flee to Rome with him.When the faithful Adalgisa unburdens her heart to Norma, the flames of jealousy are fanned.Betrayed, Norma considers killing her own children, but relents – and ultimately confesses her lasting love for Pollione as they both face their deaths, revealing the greatness of her soul and regaining his admiration. From day one, the title role of Norma was considered extremely daunting.Written in the bel canto style, which was known for its smooth, controlled manner of singing and florid ornamentation which requires great vocal flexibility, Norma's renowned aria "Casta diva" was such a challenge that the soprano for whom it was written refused to sing it at first.The opening night audience gave Norma a chilly response, but the reasons were mostly political – audience members sent by supporters of another composer hoped to dampen the opera's success.In its first season, Norma received 34 performances, and it has become a lasting staple in the operatic repertoire.Sopranos such as Maria Callas and Dame Joan Sutherland mastered the brave role over time, and today it is tackled only by the most ambitious dramatic sopranos. Starring as the Druid priestess, magnetic, powerhouse soprano Christine Goerke (see sidebar) returns to Philadelphia in the role which she sang to great success with Seattle Opera.Her recent, memorable performances as Alice Ford in Falstaff and Rosalinde in Die Fledermaus have set the vocal bar for two upcoming dramatic roles at OCP, first as Norma, and then this fall in her debut as Leonore in Fidelio. The faithless Pollione is sung by American tenor Philip Webb, who makes his Opera Company debut on the heels of performances as Pinkerton in Madama Butterfly and Rodolfo in La bohème with Vienna Staatsoper.Webb has been praised for other large, heroic roles, and London's Opera magazine describes him saying that he, "moved the audience to vociferous response with his glowing tenor." Another major Company debut is in store with mezzo-soprano Kristine Jepson as Adalgisa. Says Opera magazine, "The Adalgisa of Kristine Jepson simply could not be faulted. With a tone alternating cream and silk, she was completely comfortable in the bel canto style."Jepson's regular performances span the globe from La Scala to Royal Opera Covent Garden to the Metropolitan Opera in a variety of leading operatic roles and compelling recital repertoire. Norma's father Oroveso is sung by Philadelphia native and Curtis Institute alumnus bass-baritone Eric Owens, whose last appearances with OCP were in back-to-back Verdi roles, as the sonorous Friar in Don Carlo and as Banquo in Macbeth.Since then, Owens has sung the title role in the famed Julie Taymor production of Grendel to great acclaim, and has also sung leading roles with Lyric Opera of Chicago and San Francisco Opera.Also featured in Norma are two Curtis students who sang in Rigoletto earlier this season – mezzo-soprano Allison Sanders is Norma's confidant Clotilde, with tenor Dominic Armstrong as Pollione's friend Flavio. This evocative production was designed by celebrated opera designer John Conklin, and is newly envisioned by director Kay Walker Castaldo, whose memorable stagings of The Pearl Fishers, I Capuleti e i Montecchi and Il trovatore have inspired Opera Company audiences.Lighting is designed by Boyd Ostroff, with new costumes created by Richard St. Clair. Don't miss this stunning season finale, running April 4, 6m, 9, 13m, 16 & 18, 2008!Call 215-893-1018 or visit www.operaphila.org for more information, to listen to music clips, or to purchase additional tickets!And remember, subscribers receive 10% off single ticket prices when they purchase through Subscriber Services!
It's been called a vocal Mount Everest, one of the most thrilling works in the operatic repertoire, and this April, Bellini's ultimate masterpiece Norma dazzles Philadelphia with a stunning international cast of stars.Music Director Corrado Rovaris leads this authentically-Italian production, which is realized by veteran director Kay Walker Castaldo.
Vincenzo Bellini was 30 years old and had the recent compositions of I Capuleti e i Montecchi and La sonnambula behind him when he was commissioned to write a new opera for La Scala for the fall of 1831. Along with his librettist Felice Romani, they chose a play that opened in Paris earlier that year called Norma, ossia L'infanticidio (Norma, or The Infanticide).The opera was written during the summer and fall, with rehearsals beginning on December 5, 1831, prior to its December 16th opening night.
Norma tells the story of the title character, a Druid priestess who falls in love and mothers two children with the leader of the opposing Roman army, Pollione.Pollione, however, becomes taken with Adalgisa, a young virgin at the temple, and convinces Adalgisa to flee to Rome with him.When the faithful Adalgisa unburdens her heart to Norma, the flames of jealousy are fanned.Betrayed, Norma considers killing her own children, but relents – and ultimately confesses her lasting love for Pollione as they both face their deaths, revealing the greatness of her soul and regaining his admiration.
From day one, the title role of Norma was considered extremely daunting.Written in the bel canto style, which was known for its smooth, controlled manner of singing and florid ornamentation which requires great vocal flexibility, Norma's renowned aria "Casta diva" was such a challenge that the soprano for whom it was written refused to sing it at first.The opening night audience gave Norma a chilly response, but the reasons were mostly political – audience members sent by supporters of another composer hoped to dampen the opera's success.In its first season, Norma received 34 performances, and it has become a lasting staple in the operatic repertoire.Sopranos such as Maria Callas and Dame Joan Sutherland mastered the brave role over time, and today it is tackled only by the most ambitious dramatic sopranos.
Starring as the Druid priestess, magnetic, powerhouse soprano Christine Goerke (see sidebar) returns to Philadelphia in the role which she sang to great success with Seattle Opera.Her recent, memorable performances as Alice Ford in Falstaff and Rosalinde in Die Fledermaus have set the vocal bar for two upcoming dramatic roles at OCP, first as Norma, and then this fall in her debut as Leonore in Fidelio.
The faithless Pollione is sung by American tenor Philip Webb, who makes his Opera Company debut on the heels of performances as Pinkerton in Madama Butterfly and Rodolfo in La bohème with Vienna Staatsoper.Webb has been praised for other large, heroic roles, and London's Opera magazine describes him saying that he, "moved the audience to vociferous response with his glowing tenor."
Another major Company debut is in store with mezzo-soprano Kristine Jepson as Adalgisa. Says Opera magazine, "The Adalgisa of Kristine Jepson simply could not be faulted. With a tone alternating cream and silk, she was completely comfortable in the bel canto style."Jepson's regular performances span the globe from La Scala to Royal Opera Covent Garden to the Metropolitan Opera in a variety of leading operatic roles and compelling recital repertoire.
Norma's father Oroveso is sung by Philadelphia native and Curtis Institute alumnus bass-baritone Eric Owens, whose last appearances with OCP were in back-to-back Verdi roles, as the sonorous Friar in Don Carlo and as Banquo in Macbeth.Since then, Owens has sung the title role in the famed Julie Taymor production of Grendel to great acclaim, and has also sung leading roles with Lyric Opera of Chicago and San Francisco Opera.Also featured in Norma are two Curtis students who sang in Rigoletto earlier this season – mezzo-soprano Allison Sanders is Norma's confidant Clotilde, with tenor Dominic Armstrong as Pollione's friend Flavio.
This evocative production was designed by celebrated opera designer John Conklin, and is newly envisioned by director Kay Walker Castaldo, whose memorable stagings of The Pearl Fishers, I Capuleti e i Montecchi and Il trovatore have inspired Opera Company audiences.Lighting is designed by Boyd Ostroff, with new costumes created by Richard St. Clair.
Don't miss this stunning season finale, running April 4, 6m, 9, 13m, 16 & 18, 2008!Call 215-893-1018 or visit www.operaphila.org for more information, to listen to music clips, or to purchase additional tickets!And remember, subscribers receive 10% off single ticket prices when they purchase through Subscriber Services!
