World premiere: 26 December 1831, Teatro alla Scala, Milan
Premiere at the Bolshoi (Kamennyi) Theatre: 8 November 1843, Imperial Italian Opera Company
First production at the Mariinsky Theatre: 13 November 1861
Premiere of this production: 22 May 2025
Running time: 3 hours
The performance has one interval
The title character of Vincenzo Bellini’s opera bears the name Norma — a word that, in Italian, translates as “standard” or “measure,” both in the mathematical and moral sense. Yet from the standpoint of social convention Norma’s conduct is more than reproachable: as a high priestess of the Druids, she breaks two sacred laws – entering into a physical relationship and falling in love with a Roman, despite her allegiance to the Gallic people. It is only through her own voluntary death that she is able to reconcile her love for her homeland, her beloved and her sons. In telling the story of a woman who embodies ideal beauty – both physical and spiritual – Bellini and his longtime librettist Felice Romani created the standard of Italian Romantic opera in the bel canto style. Composed for the famed prima donna Giuditta Pasta, the role of Norma has become one of the crown jewels of the soprano repertoire. In this part Bellini combined searing tragic intensity with delicate, crystalline coloratura and a warm, lyrical cantilena.
In the 19th century Maria Malibran dazzled audiences as the Celtic priestess; in the 20th – unforgettable portrayals of Norma were created by Maria Callas, Joan Sutherland and Montserrat Caballé. The pinnacle of the role – and indeed of the entire opera – is the entrancing aria Casta diva (“Chaste Goddess”), Norma’s prayer to the moon for peace, whose exquisite melody seems to float weightlessly through the air.
But Norma is far more than just its most famous aria. In addition to the title role, Bellini created another extraordinary soprano part – that of Adalgisa, the young priestess. The duet between Norma and Adalgisa – friends, yet rivals – ranks among the finest ensemble pieces in the history of opera. The third point in this love triangle is the Roman proconsul Pollione, a tenor role. While perhaps less nuanced than the opera’s two central female characters, it requires no less vocal mastery.
The success of Norma depends above all on the performers of these three central roles. But Bellini’s melodramma tragico is by no means just a parade of solo voices. The chorus plays a role of great importance. The opera’s choral scenes are imbued with the spirit of elevated ancient tragedy – a presence that must surely have influenced the Sicilian-born composer.
“Melodie lunghe lunghe lunghe” – “long, long, long melodies” – is how Verdi described Bellini’s seemingly endless musical lines. Wagner, whose own aesthetic was of a very different order, remained an admirer of Norma throughout his life. He famously remarked that shedding tears during a performance of Norma was nothing to be ashamed of. “Singing, singing and again singing” – this, to Wagner, was the essence of Bellini’s music.
The Mariinsky Theatre now invites all lovers of bel canto to experience that essence once again. Following a series of concert performances, the theatre this season embarks on a long-anticipated fully staged production of Bellini’s masterpiece. Khristina Batyushina
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