What makes Norma such a high-profile role in the soprano repertory? Like the druids in the opera, we the audience anxiously await her entrance, wonder how she will sing, ponder her ability, and condemn her if she does not deliver what we expected. As for the character, there is no forgiveness for a soprano who tackles this role; we all seem to have a picture in our heads of how the role should sound, should be sung, and should be acted. The ghosts of the great Normas of the past confirm and solidify our beliefs. Read more »
“At Carnegie Hall last Thursday, a capacity crowd witnessed what might be the final official act of a monarch who has reigned for more than four decades.” [New York Observer]
Even before Italian diva Mariella Devia had completed the stunning high D natural that capped her miraculous portrayal of Elisabetta in Donizetti’s Roberto Devereux Thursday evening at Carnegie Hall, tens, then hundreds of those in attendance leapt to their feet to shout their acclaim at the conclusion of the most recent example of that most quintessential event for many New York operagoers: the concert opera. Read more »
Mariella Devia will augment her already vast bel canto repertoire next year with the role of roles: Bellini’s Norma.
Miraculous Mariella Devia sings “Casta diva” at a New Year’s Day concert at La Fenice. [kml_flashembed movie="http://www.youtube.com/v/1rEx2M5zRX0" width="425" height="350" wmode="transparent" /] Mariella Devia at amazon.com