Opera

Norma

Vincenzo Bellini (1801 – 1835)
Sung in Italian with German surtitles
Melodrama in two acts  | Libretto: Felice Romani, based on the tragedy by Alexandre Soumet| Premiere: 1831 in Milan

Erika Sunnegårdh
Photo: Paul Leclaire
Erika Sunnegårdh
Photo: Paul Leclaire
Young Doo Park, Erika Sunnegårdh
Photo: Paul Leclaire
Scott Piper
Photo: Paul Leclaire
Aaron Cawley, Scott Piper
Photo: Paul Leclaire
Erika Sunnegårdh, Young Doo Park, Chor, Statisterie
Photo: Paul Leclaire
Erika Sunnegårdh
Photo: Paul Leclaire
Erika Sunnegårdh, Chor, Statisterie
Photo: Paul Leclaire
Scott Piper, Erika Sunnegårdh
Photo: Paul Leclaire
Erika Sunnegårdh, Stella An, Statisten
Photo: Paul Leclaire
Scott Piper, Erika Sunnegårdh
Photo: Paul Leclaire

"Norma" was declared by its creator Vincenzo Beilini as no less than "the best of my operas". This is a story about a Gallic priestess who tries to suppress her people from revolting against the Romans, because she herself is attracted to the Roman governor. Here the composer wove the political situation of his own nation into the narrative. Italy, divided and occupied, has been infected with the idea of revolution. However, above all »Norma« is a portrait of a strong woman who pursues her love as ferociously as her hatred.
 
The modest musical beauty of Norma’s most famous aria, "Casta Diva", the prayer of the priestess to the high moon, demands a highly experienced vocalist. "Norma" requires a singer who has both a mastery of the fire and ardency of the bel canto form, and at the same time can become the acting centre. Alexandre Soumet, the writer of Bellini’s template wanted a total of four tragic heroines to play the part of the druid priestess: successively she would be Niobe and Medea, then Shakespeare’s Frénégonde (Lady Macbeth) and finally Chateaubriand’s Velleda.
 
Many great divas took the challenge of playing this character, torn as she is between political duty, religious convincement, a maternal role and a disappointed lover. Characterising the part in the modern era is Maria Callas; while Lilli Lehmann compared the difficulties of the part with singing the part of Brunhilda for three times in the evening; and Cecilia Bartoli has examined the opera seria for a reinterpretation of the bel canto style for her historical performance practice and new record. Erika Sunnegård shall debut in the role of Norma, before Edita Gruberova will sing in all of her brilliancy at the May festival.

Cast

Conductor Daniela Musca
Director Gabriele Rech
Stage Designer Matthias Schaller, Susanne Füller
Costume Designer Susanne Füller
Lighting Designer Andreas Frank
Chorus Master Albert Horne
Dramaturgy Katja Leclerc
Norma Adina Aaron
Adalgisa Tamara Gura
Pollione Richard Furman
Oroveso Young Doo Park
Clotilde Stella An
Flavio Joel Scott
Chor & Statisterie des Hessischen Staatstheaters Wiesbaden, Hessisches Staatsorchester Wiesbaden

Dates

RevivalGrosses Haus19:30 - 22:30
RevivalGrosses Haus19:30 - 22:30
RevivalGrosses Haus19:30 - 22:30
RevivalGrosses Haus19:30 - 22:30
RevivalGrosses Haus19:30 - 22:30