Opera
Norma
Astra Theatre

Late last week there were two performances of Bellini’s Norma at Gozo’s Astra Theatre, the first of which is under review here.

Joseph Vella directed an on-form Malta Philharmonic Orchestra in a smooth-flowing production of Bellini’s masterpiece, to the artistic direction of Enrico Stinchelli. The felicitous combination of Bellini’s wondrously melodious and dramatic score with Romani’s libretto, have rendered this work a perennial favourite. To my mind, the production was very successful, spiced with certain effective touches like the frequent appearance of dark-clad forest sprites, which one could also take as representatives of the various daemons afflicting the main characters. Projections of images of war, conflict and the future destruction of proud Rome added to it all. The stage setting was very good although I would have preferred a brighter moon in Casta diva. The conflagration and collapse at the end was very effective.

The opera’s three main characters were very well-etched and projected with conviction. Demetria Theodossiu in the title role combined well the role of powerful Druid high priestess in conflict with her vows because of her secret liaison with the Roman Pollione. Torn between love and duty, hurt at the man’s betrayal, at one point even her maternal feelings are severely tried when she almost does “a Medea” on them. She is noble and ruthless, a hurt lover but a generous and loyal friend and one feels that this formidable Greek soprano, armed with a magnificently supple voice went through this gamut of emotions with flying colours, never ever losing control by going over the top. It is a pity that for a brief section of a phrase at the beginning of the much-awaited Casta diva synchronisation between pit and singer was shaky but was recouped very swiftly. Norma’s long duets with Pollione and Adalgisa and the trios were carried off very well by all three concerned.

Pollione’s name aptly rhymes with an Italian epithet for a man of such (lack of) character, unrepeatable here. Al buon intenditor… Tenor Antonino Interisano brought his character to life. His solid physique added more credibility to the character for had his presence been sort of beau-next-door it would have been difficult to reconcile the latter type with the image of the cad Pollione really is. He was on good form vocally and he does use his beautiful voice to best effect, the case being more evident as it warmed up even more as the opera progressed. No fault of his, but I find his sudden reversal of love interest and turning back to Norma towards the end of the work not very convincing, perhaps one of the very few weak points of the opera.

Norma without a very good Norma is no Norma, but a Norma without a very good Adalgisa is definitely not a complete Norma. Romanian mezzo-soprano Oana Andra had all it takes: a beautiful, wide-ranging mezzo-soprano voice, an equally beautiful presence and convincing acting and interpretation of character. She was definitely the most commented upon singer during the interval and after the performance. Some even considered her as the star of the performance, and there I stop. I hope Astra will engage her for future performances. This is one of Bellini’s great mezzo roles and Ms Andra lived up to it all the way.

Oroveso, Norma’s father, was very ably and authoritatively sung by Dario Russo, equipped with a beautiful bass voice. Lesser parts were creditably performed by tenor Cliff Zammit Stevens as Flavio and soprano Dorienne Portelli as Clotilde. A lot of hard work went into the training of the choir, the set-building, lights, choreography and costumes. All that goes into such an undertaking is always much appreciated.