(Photo: Clarissa Lapolla)
One of the highlights of this summer’s Valle D’Itria Festival was a production of Bellini’s frequently performed opera, Norma. Instead of using the traditional Ricordi score, which has been widely accepted for around a century, the festival opted for a new edition by Roger Parker.
The choice was not aimed at rediscovering Bellini’s original intentions or recreating an authentic version, but rather at offering a fresh perspective on the composer’s original material, free from the influence of the conventions established by Ricordi’s edition. Parker’s edition does not involve major alterations to the score but includes numerous small performance directions written by Bellini. Many of these directions reflect Bellini’s uncertainty, as he seemed to fluctuate between different versions. Parker emphasises in his program notes that his edition is not a “composer-approved” definitive version but “just one further way to configure an ever-mutable score.” The changes, with a few exceptions, would likely only be noticeable to those with a detailed knowledge of the score.
Luisi’s Splendid Interpretation Raises the Spirits
Regardless of the edition used, the performance fell short of expectations and failed to engage. The singing, while largely acceptable, did little to evoke emotion. The minimalist set was uninspiring, relying too heavily on changes in lighting for interest, and the director chose a static presentation, with the chorus positioned offstage.
The highlight was Fabio Luisi’s conducting, which was notably effective. Although Luisi is known for his meticulous and sometimes overly precise interpretations, which can occasionally detract from the vitality of the music, this performance of Norma benefited from his careful approach. He drew a beautifully balanced performance from the Orchestra del Teatro Petruzzelli di Bari, maintaining both precision and emotional expression. The musical arc of each act was well-constructed, providing a cohesive and forward-moving quality. The pace and rhythm were carefully managed to enhance the slow-moving drama, and the musical texture was notably clear and transparent, whether due to Parker’s edition, Luisi’s direction, or a combination of both.
A Static Unimaginative Staging
Understanding the director’s vision, Nicola Raab, proved challenging. In her program notes, she described Norma as a woman caught between two realms—the sacred fire and the domestic hearth—and suggested that Adalgisa represented Norma’s younger self. While these interpretations are valid, Raab’s direction did not fully manifest these ideas on stage, except for a poignant moment during the confrontation scene where Norma embraces Adalgisa, reflecting on her past. The choice to cast a soprano as Adalgisa, consistent with the original 1832 premiere, emphasised the link between the two characters. However, the production lacked visual elements to support these concepts, with no altar or domestic items present. Props were minimal.
Leila Fteita’s scenography featured little more than a grey rectangular slab with doors at either end and a semi-circular dias with colourful mosaics, set above eye level and thus not clearly visible to the audience. A few uninspired video projections were employed, including an image of a sacred oak tree and another of blood-red flames from the finale. The overall atmosphere and visual appeal relied primarily on the lighting design, though the creator’s name was not listed in the program.
To be fair to Fteita, her costume designs were colourful and attractive. Although they were not intended to be historically accurate, they effectively captured the essence of the classical era. Norma’s costumes were opulent, including her primary dress in dark red with golden clasps, adorned with strings of pearls. Combined with her striking black hair, these elements ensured she remained the centre of attention.
Bellini’s operas typically do not progress quickly, and many productions falter when directors fail to engage the audience through imaginative staging that enhances the spectacle or by carefully highlighting the emotional depth and nuances that define the drama. Unfortunately, Raab did not achieve this; she relied solely on the singers’ facial expressions, which proved insufficient. Instead, she seemed content to let the music alone convey the story. The characters mostly stood and sang, which made Norma seem aloof and emotionally distant, a portrayal that, while fitting for a high priestess, also rendered her character emotionally cold. The static nature of the production was further reinforced by the decision to position the chorus semi-hidden behind screens at each end of the stage or behind the audience at the back of the courtyard. This choice contributed little musically or dramatically and underscored the production’s overall static quality.
Singing Performances that Rarely Captured Dramatic Heights
The singers delivered solid performances throughout, though they were often uninspiring. Exceptions included the duets between Norma and Adalgisa, where the two sopranos harmonised beautifully, effectively conveying their complex and evolving relationship.
Norma was portrayed by the accomplished soprano Jacquelyn Wagner. Known for her agile, bright, and homogeneous voice, Wagner has earned a fine reputation for her roles in the German repertoire, where her talent for creating expressive and well-defined characters is well established. However, her portrayal of Norma did not fully convince. Some technical issues were evident, such as unappealing leaps in her upper register and Italian pronunciation that often lacked proper intonation. More critically, she seemed uncomfortable in the role and lacked the natural fluidity that comes with deep familiarity. Her rendition of the showpiece aria, “Casta diva,” demonstrated technical skill and captured the melody’s beauty, but it missed the ethereal quality needed to elevate the piece and transport the listener to a higher realm.
Airam Hernández, in the role of Pollione, embodied the stereotypical tenor—confident, passionate, and courageous. His voice was attractive, resonant, and lyrically appealing, and he expressed his character’s ardent feelings with an appropriate romantic swagger. While his performance did not delve deeply into the character, and Raab’s direction did little to enhance this aspect, the pleasing sound of Hernández’s voice remained a notable feature of his portrayal.
One positive aspect of the production was the casting of a soprano in the role of Adalgisa. Valentina Farcas, with her lighter and fresher-sounding voice, created a pleasing contrast to Wagner’s stronger, heavier instrument, lending a balanced and sympathetic quality to their duets. Farcas delivered a convincing performance, effectively capturing Adalgisa’s conflicted emotional state.
Bass Goran Jurić offered an authoritative portrayal of the druid leader Oroveso. Despite a distractingly wide vibrato, his singing was dramatically convincing, resonant, and forceful, conveying the full weight of his words. His stage presence conveyed a strong sense of power, though this was somewhat diminished by the absence of visible druids, as the chorus was hidden throughout.
Soprano Saori Sugiyama provided a colourful and well-executed performance as Clothilde, while tenor Zachary McCulloch performed admirably in the role of Flavio.
Chorus master Marco Medved did commendable work with the Coro del Teatro Petruzzelli di Bari, resulting in an energetic and emotionally strong performance. However, there were issues with its positioning; the chorus was sometimes placed at the rear of the courtyard behind the audience, which either resulted in it being too loud and overshadowing the onstage soloists or too distant, reducing its impact.
Overall, while there were moments of merit, the production is unlikely to be remembered for long due to its numerous weaknesses, which combined to create a static and unconvincing performance.
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