fine al rito
So, guess who’s going to sing Norma?
“Sie ist die unbestrittene, strahlende Königin des Koloratur-Mezzofachs: Cecilia Bartoli. In der kommenden Saison wird sie im KONZERTHAUS DORTMUND in einer der bedeutendsten und schwierigsten Partien der gesamten Opernliteratur zu erleben sein: als „Norma“ in Vincenzo Bellinis gleichnamiger Oper. Die musikalische Leitung dieser wichtigen konzertanten Produktion liegt in den Händen von Thomas Hengelbrock, der seine eigenen Klangkörper, das Balthasar-Neumann-Ensemble und den gleichnamigen Chor, dirigieren wird. Die Aufführungen sind für den 29. Juni und 1. Juli 2010 geplant.”
wow, what is it about Norma that bring the queen’s claws out in full force? Let’s get some historic facts “straight” so to speak:
1. Norma was written for Pasta and her voice was that of a high mezzo, more than a soprano. Bartoli just recorded Sonnambula in Pastas keys (with were the same keys that Scotto, Callas and Sutherland used), so, you think that Bartoli will unearth a “Malibran version” for these performances?
2. Adalgisa is an engenue role, not a Jocasta/Erda role. It was written for Grissi, who was younger and had a lighter voice than Pasta. Adalgisa is also supposed to be younger than Norma and we want to cast who?
3. Casta Diva in G has been recorded by: Sutherland, Sills and Gruberoba at least. By the way, the lowered malibran version of the aria is in F, the same that Sutherland, Callas, Scotto and many other sopranos have sung and recorded. So much for the Malibran version there too.
Norma is not a soprano role. The French had a better idea when they said the opera was best served with a Falcon as Norma and a Soprano Adalgisa. I think it would be interesting to see a mezzo get her hands at it and give it a try.
Now, is Bartoli the one to do it? I don’t think so. Not because I do not believe she has the technique or the range to sing the part, but because her voice is the wrong color for it. No matter what, she sounds like an engenue and she would be a better Adalgisa than a Norma. When I think of a mezzo Norma I think of Zajick (who turned down the role) maybe Bythe, Della Jones, a young Obrazova. Their voices have a bite that will not only cut through the orchestra but will serve the character during the Non tremare and all the angry outbursts. Bartoli sounds too gentile and those outburst will be too much for her.
I just read the announcement again. I didn’t know TT was writing in German! So versatile!
I heard her in a recital in Berkeley years ago. Her enthusiasm is contagious in person, and one can’t help but get caught up in it. (We did, anyway.) I’m intrigued by the idea of Norma for her, but there does seem to be something wrong with the mental picture. It’s that enthusiasm of hers, I suppose. A Norma who makes googly faces and rolls her eyes back far enough to see her own occipital lobe just seems, oh i dunno, nonspiritual and insufficient. But if Bartoli takes it seriously, who knows? It could turn out to be something wonderful.
As long as our doyenne is comissioned to provide the art work for all the media and print, who cares who sings Adalgisa? This picture had me falling out of my chair. Brava “Casta Diva della Graphica”!
But seriously folks…
Thanks, #41 for your well written and very informative post. Are your comments about Pasta based on written accounts of her singing or just the tessitura of the role? I’d love to know. I have a hard time thinking of Blythe or Zajick on stage as Norma, but perhaps that’s because I have been conditioned by what I have actually experienced?
Good points, #43. I experienced Bartoli in concert quite early in her career and was very caught up in the moment, as you say. Her joy in singing was infectious and, at that point, her facial expressions and body language were a much-commented-on and welcome break from typical recital formality. Her vocalism and presence can be mannered now (the mugging!) but she remains a compelling singer. Still, the theatre tends to like its tragediennes to be something other than boarderline little people. As long as the designer doesn’t literally dwarf her in a stage full of imposing Druid stones she might pull it of. It helps, of course, that she “sings tall”.
#30: No Brian it is happening here in Roma as part of a LangSquared Festival. He’s doing a series of recitals and concerts over two weeks. The Ceci concert is set for June 4.
@ Maury: Now, thank you. After reading your translation I have to go home to get new pants on. I am going to go to Dortmund when it happens. By the way, Conductor Hengelbrock had huge success with his approach to the Alte Musik fach in the last 15 or so years an is going to conduct the next Fliegender Holländer in Bayreuth…
Oh what the f*ck. Why not? Would want to hear it just for curiosity’s sake though. I can see her making it through Acts 1-3. However, does she have the vocal chops to get through Act 4???????
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On a different note I hope Fleming changes her mind about Norma. I think she has it in her. Flame away, but I really think she’d be something WORTH listening to.
One more praising Maury’s translation – thanks so much, I needed that laugh! More, please?
Also, I never knew there was something like “Mezzo Coloratura”. What the Fach? We live and learn.
Sanford #19: I think the correct term is chuggatura.