Norma

We read in the excellent Stage Director’s notes that Norma was Bellini’s masterpiece written towards the end of his short life (1801-1835) in 1831. Bellini was a proponent of what has become known as the bel canto style, characterised by melody. Norma is praised, by Wagner among others, for its musical impact. Wagner said: ‘This music is noble and great, simple and grandiose in style’.

The story is loosely based on a French melodrama by Alexander Soumet.  The action takes place in Gaul during the time of Roman occupation, and deals with the proud resistance of a woodland Druid tribe and their desire for revenge. In the centre of the story is the love triangle between the fickle Pollione, the Roman Pro-Consul of Gaul, Norma, the High Priestess of the Druid temple, and his new love, the young Adalgisa a novice priestess. This triangle is complicated by the fact that Norma has broken her vows of chastity and has a child by Pollione.

Thus, all human emotions are here – passion, guilt, betrayal, sacrifice, rejection, parental love, and grief.

As always, Guildford Opera produced a very well-designed and informative programme, which always enhances our enjoyment of the production. A great synopsis, profiles of both directors and the principals, rehearsal photos, all helped to whet our appetite. The Stage Director’s notes were very comprehensive and helped us understand this work’s place in opera history, its innovative techniques and Bellini’s success in creating music drama that was ahead of its time. There was also a great piece introducing four members of the chorus ‘the beating heart of Guildford Opera’, with of course an appeal for new members to come along. ‘Joining GOC is one of my best life decisions. I love everything about it: the challenge, the comradeship, and of course the sublime music.’ That I can truly understand – if only I could sing!

The venue this time was St Nicholas’ Church, on the river in the centre of Guildford, one of the town’s oldest churches, and certainly a beautiful one to stage such a work in. It is large and roomy, with a very good acoustic, I was told. The chancel was equipped with three shallow-stepped areas. It was transformed into the woodland site of the Druid temple with much greenery. To the centre was a blood-spattered altar, where obviously sacrifices took place, and there were sprigs of mistletoe in evidence. A simple yet very effective set. The chorus all carried rustic staves. One very startling element was the hand-crafted weapons by Martin Perman – a short dagger, a longer-bladed one, and a wonderful sickle. So impressive, these greatly added to the dramatic effect.

First to appear was Oroveso, the Chieftain of the tribe, wearing a loose green tunic, a fur and leather jerkin, brown leather shoes with cream loose laces, his hair pulled back into a topknot, with dramatic facial makeup. The chorus entered from the back, clad so dramatically in long dark-green hooded robes, with a large crescent moon in black on the back (the tribe worshipped the moon), and they sported facial markings. A new young man was initiated into the group, his robe was put on him, and he was blooded. The Roman Pro-Consul Pollione and his aide-de-camp Flavio were clad in Napoleonic era military uniforms, and carried large swords.

Norma’s appearance was startling, in a long white gown, large  elaborate tattoos on her arms, a dramatic silver arm and hand ornament, and a flowery wreath in her hair. She had fascinating white makeup on her face. Adalgisa wore a stunning long bright blue gown and sandals, and a fine large silver necklet. She had similar tattoos, and her makeup was equally, if not more, striking – I seem to remember dark blue markings across her eyes. Then of course there was Norma’s child, who wore a white peasant’s dress with black embroidery, and her hair was plaited. I have focussed a lot on costumes here, but this is because they so added to the feelings this strange tale evoked. Congratulations to the costume and makeup team.

Lighting was effective throughout, and greatly contributed to the drama and mood.

The 8-piece orchestra, conducted as always so ably by Lewis Gaston, led us into and through Bellini’s score with style, verve, sensitivity and panache. There was always a good balance between instruments and voices, and between soloists and chorus, and a delicious volume of sound filled that beautiful church.

This startling and chilling story began as Oroveso called his tribe together to await the rising of the new moon, in the hope that his daughter Norma, the High Priestess, will arrive and call for war against their Roman occupiers. John Orpenshaw was a fine Oroveso, a towering figure, he looked the part, and ably expressed the tribe’s and his anger, and yet later his own tender feelings towards his daughter, as she faced her terrible end, and his newly discovered granddaughter that she entrusts to his care.

As the chorus approached from the rear of the church, the sense of drama increased. Director Stephen Oliver built up the tension layer upon layer throughout the proceedings, I was full of dread throughout.

Pollione was played very ably by Matt Connolly, who brought out very well the contrast between the sincere leader Oroveso, and the cynical, out for what he could get, occupier. Would you trust him, gentle maiden? Surely not. But a charmer he certainly was.

The success of Bellini’s work stands or falls on the role of Norma, who is central to everything. Callie Gaston was so well cast, she gave an absolutely masterful performance as this strong, imposing presence, inspiring awe and admiration in her tribe, with a fierceness to her that was quite shocking. At the same time, she was a woman in love, and expressed gentle sisterly feelings towards Adalgisa, and tenderness towards her daughter and father. She was in fine voice, and gave a stunning ‘Casta Diva’, the well-known aria familiar to us all.

We then met Adalgisa, the young woman Pollione had now set his sights on. Isolde Roxby brought out all the rollercoaster of emotions she was experiencing, the delight of first love, and also her strength of character, as she eventually refuses Pollione’s proposal of a fine new married life in Rome, when she realises how he has so dreadfully betrayed Norma. This was great nuanced acting, and she sang beautifully – I especially remember the tender duet with Norma as they shared their experiences of falling in love. This was great musicality indeed.

There were some on the one hand delightful, on the other extremely alarming scenes with Norma’s child (played so endearingly by young Penny Williams) She was in the charge of Norma’s friend Clothilde, an impressive performance by Johanna Hackmann. She was handed a dear little doll, which seemed to be made of sticks, with a little tiny head and a long white gown, I was fascinated! She was a sad little thing it seemed, as Norma seemed cold and distant, torn between wanting to see her and not, as she was proof of her sin, that she had broken her vows. At one stage Norma was on the point of killing her child in revenge for Pollione’s treachery, dangling her dagger over the child’s neck. Absolutely chilling.

As always, the Guildford Opera chorus was in fine form, and the various trios or duets accompanied by the chorus were sublime, filling the church with their delicious sound. When Norma and Oroveso finally allowed the declaration of war, the chorus’ cry of ‘Battle Battle!’ was brilliantly shocking, a moment to remember. To quote Wagner again: ‘a large score that speaks to the heart’. This I found to be true.

A truly fine evening which will stay in my memory for a long, long time. How fortunate we Guildfordians are!

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