Norma

by Vincenzo Bellini, libretto by Felice Romani

seen at the Coliseum on 24 February 2016

This production, originally created for Opera North and Die Theater Chemnitz, is directed by Christopher Alden and designed by Charles Edwards. Stephen Lord conducted; Katrina Sheppeard sang Norma (standing in at short notice for an indisposed Marjorie Owens), Jennifer Holloway sang Adalgisa and Peter Auty sang Pollione.

The opera, composed in 1831, is often regarded as the pinnacle of the bel canto style, even though its dramatic plot and detailed study of psychological torments and conflicts of loyalty makes it far more than merely a vehicle for virtuosic display. The part of Norma is indeed extremely difficult, but it demands good acting as much as brilliant singing.

Nominally set during a time of conflict between Romans and Gauls - with the Romans in some sense governing the province, but the native 'druidic' religion still flourishing - there is really very little attempt at depicting musically an ancient historical period. In this production, intriguingly set in a large space with apparently wooden walls, and with the huge trunk of a tree (incised with runes) dominating the stage, the Gauls are dressed in plain workmanlike garments reminiscent of Amish or Shaker communities, while Pollione and his friend Flavio (the only Romans we see) are dressed as prosperous nineteenth-century industrialists, repellently self-confident in black suits and top hats.

This works well as the depiction of two mutually uncomprehending communities, the Gauls relying on traditional solidarity and a mystical religion, the Romans assuming that the world is their oyster and so utterly shameless in exploiting and abusing the local populace. The great tree trunk is the focus of the religious zeal of the community, and it is raised and lowered by a series of ropes and pulleys controlled by a great wooden wheel towards the back of the stage, a clever indication that the community controls its rites as much as being shaped by them. In the text, there are plenty of references to popular discontent, but also an insistence that action is impossible without the blessing of the god spoken through Norma; yet there are hints that Norma as priestess can be to some extent pressured into delivering the hoped-for divine approval for rebellion.

The only drawback was that Norma's father Oroveso (James Creswell, the head of the druids) was almost always on stage (though very often at the back, near the great wheel), yet much of the action could not have been overheard by anyone without precipitating a crisis; the whole point of Norma's predicament is that her liaison with Pollione is a secret known only to the couple and to Norma's confidante Clotilde (Valerie Reid). Norma's recriminations are made in private to Pollione, and her dealings with Adalgisa, the young priestess who is now the object Pollione's amorous interest, are complicated by her own passions which are unknown to her community. So it was odd to have this druid present but unresponsive, especially considering that on the occasions when he did sing he was a remarkably strong character.

On the other hand, the design allowed for striking effects, particularly when Norma's two children by Pollione were off stage but standing in a light which threw their gigantic shadows on the wall; and when the Gaulsih community came on stage to worship at their shrine. The ENO chorus, currently under considerable strain as the executive is attempting both to reduce their numbers and to reduce their pay, performed as usual magnificently; they are an asset that should not be tampered with lightly.

The principal singers were excellent, with Katrina Sheppeard giving a commanding performance as Norma in her role debut with almost complete mastery of the difficult vocal line. As a replacement singer she was really powerful. Jennifer Holloway provided great contrast as the younger rival, so hat the duets between the two women were beautifully balanced, while Peter Auty brought considerable passion to the role of Pollione, a breathtakingly self-centred man who eventually finds that his love for Norma is rekindled. This is a trajectory that looks less than convincing to modern eyes, but the conviction of the performance brought it off. In this he was helped by the sheer odiousness of his companion Flavio (Adrian Dwyer), who after a short conversation with Pollione near the beginning, sings nothing but eventually suffers a savage but hardly unsurprising lynching towards the end.

Despite some directorial decisions which appeared at variance with the text - Oroveso's constant presence; and the fact that Norma's appeal specifically to her father to look after her children was addressed here to almost anyone but him as Norma walked among the chorus - the production as a whole was a triumph.