My rating is a compromise between 8 for the singing and only 4 for the overall concept. Yoncheva and Calleja are splendid, so let's forget about the weaknesses in some of the other singers. The problem comes with Alex Olle and his two collaborators who have given us this strange production in which a Druid priestess is costumed as a Catholic priest... really. Druids died out when Gaul was Christianized, or even before, so where does this come from? There are other anachronisms, but I won't bother to list them. Just be aware that eccentricity rules this production, but can't ruin the singing.
4 Reviews
A thrilling Norma
glcobbold16 June 2023
Norma contemplating infanticide whilst Watership Down plays on the TV in her swanky apartment is the definition of operatic camp.
This production works exceptionally well. The direction and acting choices feel brave and exciting; though I wouldn't recommend this version to newcomers of Norma, as the relationship dynamics get somewhat obscured by the religious allegory.
The leads are excellent. Yoncheva plays Norma with lots of ferocity, which is riveting to see, particularly when she goes up against Calleja's more tender Pollione. But the star here is the orchestra conducted by Pappano, who keeps a constant fast pace, and always brings out the fire in this score.
Perhaps the ending doesn't have the emotional resonance it should have, but for how thrilling (and camp) most of this production is, this is a version of Norma that is worthy of it's name.
9/10.
This production works exceptionally well. The direction and acting choices feel brave and exciting; though I wouldn't recommend this version to newcomers of Norma, as the relationship dynamics get somewhat obscured by the religious allegory.
The leads are excellent. Yoncheva plays Norma with lots of ferocity, which is riveting to see, particularly when she goes up against Calleja's more tender Pollione. But the star here is the orchestra conducted by Pappano, who keeps a constant fast pace, and always brings out the fire in this score.
Perhaps the ending doesn't have the emotional resonance it should have, but for how thrilling (and camp) most of this production is, this is a version of Norma that is worthy of it's name.
9/10.
Not the worst 'Norma' but a strong contender for the oddest
TheLittleSongbird21 October 2017
To me, 'Norma' is Bellini's masterpiece, it is the least flimsy plot-wise of his operas, with potent drama and the characters and their conflicts are more complex than they seem (even Pollione) and the music is divine. No surprises actually on the latter point, Bellini's music is some of the most beautiful in all of opera.
When it comes to DVD productions of 'Norma', the best by far is still the 1974 Orange performance with Montserrat Caballe and Jon Vickers (the best Pollione on DVD by some considerable distance) and the two Dimitra Theodossiou productions faring least (particularly for underwhelming staging and a very poor Pollione). Recently saw the 2017 Met production directed by David McVicar and was very impressed on the whole, although the drabness of the production was taken too far. Saw this 2016 Royal Opera House production when it was first broadcast in cinemas late last year, but it took me a while to get round to reviewing it because it was it was not clear at first what I actually made of it, also didn't realise that the title was up on IMDb in order to do so.
Considering that this is the Royal Opera House we're talking about, who have had underwhelming productions in recent years but there are so many gems of operas and ballets from them available on DVD, this was a real disappointment and one doesn't expect such an odd production to come from them. Especially because apparently it was their first production of 'Norma' in thirty years, for historical significance's sake 'Norma' deserved far better treatment than this. The Dimitra Theodossiou productions fare worse, but if there is a strong contender for the oddest 'Norma', this one is right up there.
Not without its great things. Sonya Yoncheva is mostly remarkable in the fiendishly, and notoriously, challenging title role, very complex dramatically and with extreme technical challenges (not just the Colouratura and passage-work but also the long lines that need silken legato and a wide range of dynamics at the bottom and top of the voice, more so than most other soprano operatic roles). Yoncheva has moments where the Colouratura is on the laboured side, but mostly her voice is warm and of gleaming beauty as well as intelligently and musically used, she has exquisite lines and overcomes many of the vocal hurdles well. Dramatically, she is every inch the troubled and complex woman Norma should be, she is affecting and expressive in the softer moments but has a Medea-like intensity in scenes that call for that, like the end of Act 1.
Like what was said for his surprisingly good performance in the Met production, Joseph Calleja puts most of the tenors singing Pollione on DVD to shame (this is the role that has been the most problematically cast), this was a surprise too because Pollione a departure role for him being a far cry from his romantic roles, and there was the concern that it would be too heavy for him. Throughout he sings with a ringing silvery tone, if at times having a tendency to push sharp, how nice to hear Pollione sung rather than shouted, hectored or strained and sung with smooth legato rather than choppiness. He does very well with Pollione's caddish meanness, he is a beast here, while his redemption is touching, a rarity for Pollione.
Musically, it is a mostly outstanding production. The orchestra glimmers in beauty, excites in the more energetic and furious moments and thrills and tugs at the heartstrings when things get intense and tragic. The chorus are excellent, both in the intimate and emotionally-charged moments, and their acting is not too static. Antonio Pappano has an alertness, keen sense of drama and understanding of the style, my only reservation being that he could have been more sympathetic in sections where the orchestra are a little too thick in volume.
Sadly, not all the musical values work with the biggest disappointment being Brindley Sherrat's dramatically dignified but rough-sounding and underpowered Oroveso, Sherrat has done some great work but here he's out of sorts. Was mixed on Sonia Ganassi as Adalgisa. It is a very sensitive and touching portrayal, that avoids being too passive, and her rapport with Yoncheva is magical. Her voice though has seen much better days, it's unusually constricted and forced here.
Alex Ollé's staging and the production values bring down the production the most. The production values generally are overblown, over-dominant and not particularly attractive, the only touch that halfway works is in "Casta Diva". The symbolism was unnecessary, distracting heavy-handed and often head-scratching.
Ollé's staging is too busy all the way through the production, very muddled and is a mix of the weird and the downright silly. It really swamps the very human drama of the opera's story, a lot of it very intimate and profound. Both of which very nearly completely lost, apart from some moments thanks to the singing and commitment of the cast being so good (the Norma and Adalgisa duets especially). One even forgets what the opera is about, there may have been moments of intimacy and profound nature but the meaning of the opera is lost completely. Motivations and occupations also could have been made clearer, especially for Pollione.
In conclusion, odd and disappointing but most of the musical values save it. 5/10 Bethany Cox
When it comes to DVD productions of 'Norma', the best by far is still the 1974 Orange performance with Montserrat Caballe and Jon Vickers (the best Pollione on DVD by some considerable distance) and the two Dimitra Theodossiou productions faring least (particularly for underwhelming staging and a very poor Pollione). Recently saw the 2017 Met production directed by David McVicar and was very impressed on the whole, although the drabness of the production was taken too far. Saw this 2016 Royal Opera House production when it was first broadcast in cinemas late last year, but it took me a while to get round to reviewing it because it was it was not clear at first what I actually made of it, also didn't realise that the title was up on IMDb in order to do so.
Considering that this is the Royal Opera House we're talking about, who have had underwhelming productions in recent years but there are so many gems of operas and ballets from them available on DVD, this was a real disappointment and one doesn't expect such an odd production to come from them. Especially because apparently it was their first production of 'Norma' in thirty years, for historical significance's sake 'Norma' deserved far better treatment than this. The Dimitra Theodossiou productions fare worse, but if there is a strong contender for the oddest 'Norma', this one is right up there.
Not without its great things. Sonya Yoncheva is mostly remarkable in the fiendishly, and notoriously, challenging title role, very complex dramatically and with extreme technical challenges (not just the Colouratura and passage-work but also the long lines that need silken legato and a wide range of dynamics at the bottom and top of the voice, more so than most other soprano operatic roles). Yoncheva has moments where the Colouratura is on the laboured side, but mostly her voice is warm and of gleaming beauty as well as intelligently and musically used, she has exquisite lines and overcomes many of the vocal hurdles well. Dramatically, she is every inch the troubled and complex woman Norma should be, she is affecting and expressive in the softer moments but has a Medea-like intensity in scenes that call for that, like the end of Act 1.
Like what was said for his surprisingly good performance in the Met production, Joseph Calleja puts most of the tenors singing Pollione on DVD to shame (this is the role that has been the most problematically cast), this was a surprise too because Pollione a departure role for him being a far cry from his romantic roles, and there was the concern that it would be too heavy for him. Throughout he sings with a ringing silvery tone, if at times having a tendency to push sharp, how nice to hear Pollione sung rather than shouted, hectored or strained and sung with smooth legato rather than choppiness. He does very well with Pollione's caddish meanness, he is a beast here, while his redemption is touching, a rarity for Pollione.
Musically, it is a mostly outstanding production. The orchestra glimmers in beauty, excites in the more energetic and furious moments and thrills and tugs at the heartstrings when things get intense and tragic. The chorus are excellent, both in the intimate and emotionally-charged moments, and their acting is not too static. Antonio Pappano has an alertness, keen sense of drama and understanding of the style, my only reservation being that he could have been more sympathetic in sections where the orchestra are a little too thick in volume.
Sadly, not all the musical values work with the biggest disappointment being Brindley Sherrat's dramatically dignified but rough-sounding and underpowered Oroveso, Sherrat has done some great work but here he's out of sorts. Was mixed on Sonia Ganassi as Adalgisa. It is a very sensitive and touching portrayal, that avoids being too passive, and her rapport with Yoncheva is magical. Her voice though has seen much better days, it's unusually constricted and forced here.
Alex Ollé's staging and the production values bring down the production the most. The production values generally are overblown, over-dominant and not particularly attractive, the only touch that halfway works is in "Casta Diva". The symbolism was unnecessary, distracting heavy-handed and often head-scratching.
Ollé's staging is too busy all the way through the production, very muddled and is a mix of the weird and the downright silly. It really swamps the very human drama of the opera's story, a lot of it very intimate and profound. Both of which very nearly completely lost, apart from some moments thanks to the singing and commitment of the cast being so good (the Norma and Adalgisa duets especially). One even forgets what the opera is about, there may have been moments of intimacy and profound nature but the meaning of the opera is lost completely. Motivations and occupations also could have been made clearer, especially for Pollione.
In conclusion, odd and disappointing but most of the musical values save it. 5/10 Bethany Cox
Very odd Norma
AngelofMusic199823 May 2022
I really like Norma. This production though,looks weird,with over the top symbols. You do not have the feeling like you are in the woods. Sonya Yoncheva is really great as Norma. Loved her as Desdemona,Violetta,Tosca,Mimi and Luisa Miller. Joseph Calleja is amazing as Polione. Sonia Ganassi acts great as Adalgisa,but her singing is not the best. Oroveso also is not the best. Overall,very odd Norma,mostly saved by Norma and Polione.5/10.
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