Cher Public

Broadcast: Norma

“When other friendships are for the birds, ours will sing in thirds! Lahdle-ahdle-ahdle-dig-dig-dig!”

The cher public are surely already fluffing the sofa pillows and uncrating the snacks for tonight’s broadcast of the Met’s opening night performance of Norma. The free broadcast and the obligatory parterre chat both begin at 6:00 PM EDT. (The opera proper begins approximately 6:30.)

(Photo: Ken Howard / Metropolitan Opera)

  • Liz.S

    Some boos to McVicar…

  • Rowna Sutin

    Night everyone!

    • Liz.S

      See u soon!

    • Niel Rishoi

      Night!

  • Camille

    Just now returning home from the performance of Norma and had my long deferred Pasta alla Norma, the best part of my evening.

    What all you guys have to say about what was heard over the radio would be pretty much the same as what I heard sitting in row K, Orchestra, so don’t let anyone tell you “You HAD to be there!”

    Not a night for the ages. And enervating. Must rest and reflect before I say anything further.

    Basta e buonanotte.

    • CarloMaria233

      I was there, and you HAD to be there at least to explain the energy and electricity (or apparent lack thereof for those listening through the radio).

      I thought it was a triumph because they gave it their all and you could see it and feel it. The energy among the principals was palpable and weird due to all the directorial choices around masculine domination and possible domestic.violence and trauma. I didn’t know when to clap coz I did not want to clap for pollione manhandling adalgisa or norma. Sure there were some unsatisfactory rhythmic choices but they were few and overall I was very very satisfied with the performance of this norma (granted I have only seen the other production live which is such a dud).

      I am also hoping that I am not utterly mistaken.

      • DonCarloFanatic

        If YOU enjoyed it, you cannot be mistaken. How the rest of the world views this performance should not impact your pleasure in it.

        • CarloMaria233

          I thank you for your words but we are having a conversation on this thread where a judgment is being formed about the prima/performance so my singular pleasure in it (which i am confident i did not manufacture) is not in question but my proposal that one had to be there to grasp why applause.may have been muted at times, why, even with uneven rhythms I thought the performance was very good, and why Sondra acquitted herself in a manner that the radio evidence will not show.

  • Camille

    Nachschlag:

    I am SO looking forward to Marina Rebeka.

  • Susan Szbornak

    I enjoyed the Norma. ????????

  • grimoaldo2

    https://www.nytimes.com/2017/09/26/arts/music/norma-review-metropolitan-opera.html?mcubz=0

    NYT review
    “Compelling Singers Lift a Muddled ‘Norma’

    “Ms. Radvanovsky’s slightly piercing sound tellingly exposed the subtext of Norma’s intentions. Yet, when lilting phrases rose to soft, high pianissimos, she sang with beguiling tenderness.’

    That’s what I love about Radvan, especially hearing her live, exquisitely beautiful soft singing.

  • PCally

    Was I the only one kind of surprised that Didonato seemed to be having such a hard time with her music and sang with the usual transpositions? I know she’s a mezzo and the soprano roles she sings aren’t soprano roles in the way one might think of soprano roles, but I was still kind of surprised that Adalgisia of all things caused her to struggle.

    When can we get an actual soprano in the part?

  • Kenneth Conway

    Very interesting to follow the witty and often supremely knowledgeable comments about an opera I personally care little for (save for the usual “hits”). I see the Times points out the new production’s “drab-looking sets” and “annoyingly dim lighting” … Yet again! So-so singing and a dreary production? I’ll skip. Seems to me The Met’s artistic administration needs to get the boot, from top to bottom.

  • Nelly della Vittoria

    New York Classical Review loved Joyce in it. But then, they always do, to a fault. But then, so do I, to a fault.