SEEN AND HEARD INTERNATIONAL

Bellini,  Norma: Bavarian State Opera, Munich,  Conductor: Friedrich Haider. 2.2.2008 (BM)

 

To hear local people talk, Munich’s Norma is above all about Edita Gruberová’s stage debut in the title role, so first things first: she is a phenomenon, and it would probably be impossible to name another artist whose coloraturas were still this stunning at the age of almost 60. According to the diva herself (and she truly is a diva, in the best possible sense of the word) she has reached her personal best as well as her personal limits with this role, the culmination of a career that has been seemingly endless, just like Bellini’s melodies. It is easy to be in two minds about her Norma, but I find the many comparisons to Callas et al tiresome – perhaps we have simply come to expect a more dramatic voice for the Druid priestess due to these past signature performances, so let us not forget that most of them had to transpose “Casta Diva” to a lower key whereas Gruberová sings it as Bellini set it, in G major. Thanks to her impeccable technique, she treats her audience to the immense sensitivity of her delicately crafted bel canto singing throughout – a trait which is wholly reflected in her acting, I might add even though in this respect only,  some personal limits may have been surpassed - yet it would seem unfair to expect her to look or move like a comparatively young woman.
 

But just as any dish is more than the sum of its ingredients, there is more to this production than one legendary component, for its various elements blend unexpectedly well – almost in spite of themselves. Zoran Todorovich is an utterly convincing Pollione, although his awe-inspiring tenor could have done with just a tad of reigning in now and again, and Sonia Ganassi is stupendous as Adalgisa, her unique mezzo blending with her partners’ voices and making for sensational tension in the duet with Norma, not to mention the magnificent ensemble numbers. Roberto Sandiuzzi sings a booming Oroveso, largely in the stand and deliver tradition, but this is not necessarily a bad thing. What bothered me more was the enormous amount of standing around, pained expressions and monotonous gestures on the part of the protagonists and the sluggish progress of soldiers and Druids across the stage. This really did appear to hail from opera productions of eras past – despite the fact that director Jürgen Rose chose the current conflicts in the Middle East as a contemporary - and not at all inappropriate - theme for his staging.  If I’m not mistaken, the freedom-starved Gauls eager to rid themselves of the Romans are meant to resemble Palestinians in their stocking masks. He certainly got the sets (and costumes) right though, and of these the double-decker split stage for the second part of Act I, with the Druid's place of worship on top and Norma’s abode underneath -  accentuated even further by absolutely superb lighting;a triangle of white standing out in the background against somber black and blue hues – was the most striking. Fortunately, all prevailing on-stage lethargy was defied by the music, thanks to the great musicality not only of the outstanding soloists but also of the orchestra under Friedrich Haider and the wonderful timbre of the chorus prepared by Andrés Máspero.

Bettina Mara  

 
Pictures © Wilfried Hösl. Reproduced with special thanks for Herr Hösl's personal authorisation to use his photographs.

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