Becoming Norma 03-01-2008 We asked soprano Christine Goerke to tell us a bit about a role so complex that only the strong survive! Here is what she shared with us... I find Norma is one of the most "complete" opera characters. The first time I sang the role, I was caught up in her strength – a high priestess with responsibilities to her people, and a single mother to boot! She does it all, and has the strength to forgive and admit her wrongdoing in the end. Coming back to this role a few years later, I am also struck by how tragically human she is. In all of her "asides,” she is constantly talking about how she wants back the love which caused her to break her vows… she forgives this man who not only left her, but left their children, living in the hope that somehow he'll come back, while showing the world her "stiff upper lip". She is an incredibly powerful feminine presence. I also had my first child this past year, and it caused me to have a very different reaction to the scenes with the children. Being a mother makes them all the more somber for me - and difficult! And what of its taxing vocal summits? I think that singing Brünnhilde [in Wagner’s Ring Cycle] would probably be easier than singing Norma! It requires coloratura, lyric singing, long lines, dramatic text, high notes, low notes, huge scenes with orchestra and chorus... probably the equivalent of at least two or three different voices! Plus, it’s an emotional roller coaster, and to really get as close as possible to the drama is dangerous because it can affect your voice. The goal is to come as close to that emotion as possible, without affecting your singing. I am always grateful for rehearsals, because without a doubt I end up crossing that line at least once before we open. I'm so looking forward to the opportunity to do this great work with friends! Read more about Bellini's ultimate masterpiece Norma.
We asked soprano Christine Goerke to tell us a bit about a role so complex that only the strong survive! Here is what she shared with us...
I find Norma is one of the most "complete" opera characters. The first time I sang the role, I was caught up in her strength – a high priestess with responsibilities to her people, and a single mother to boot! She does it all, and has the strength to forgive and admit her wrongdoing in the end. Coming back to this role a few years later, I am also struck by how tragically human she is. In all of her "asides,” she is constantly talking about how she wants back the love which caused her to break her vows… she forgives this man who not only left her, but left their children, living in the hope that somehow he'll come back, while showing the world her "stiff upper lip". She is an incredibly powerful feminine presence. I also had my first child this past year, and it caused me to have a very different reaction to the scenes with the children. Being a mother makes them all the more somber for me - and difficult!
And what of its taxing vocal summits?
I think that singing Brünnhilde [in Wagner’s Ring Cycle] would probably be easier than singing Norma! It requires coloratura, lyric singing, long lines, dramatic text, high notes, low notes, huge scenes with orchestra and chorus... probably the equivalent of at least two or three different voices! Plus, it’s an emotional roller coaster, and to really get as close as possible to the drama is dangerous because it can affect your voice. The goal is to come as close to that emotion as possible, without affecting your singing. I am always grateful for rehearsals, because without a doubt I end up crossing that line at least once before we open. I'm so looking forward to the opportunity to do this great work with friends!
Read more about Bellini's ultimate masterpiece Norma.
