Bath Opera returned to Bellini (a few years ago they did La Sonnambula) for this spring’s production of Norma. Given the demands of the two principal roles, they were double-cast and tickets were sold to what was nominally the dress rehearsal, so that each pair got two performances.
There’s a fair amount of implausibility about the plot of this one. We are asked to believe that Norma has borne Pollione two children without anyone apart from Clotilde apparently noticing. And surely Pollione could have handled the ending better – used his troops to rescue Norma and then they could both have toddled off to Rome, with or without the children?
It’s also hard at times not to imagine ‘improvements’ involving introducing some characters from Asterix, and there really was a set based on Stonehenge! More seriously, I sensed the influence of Cherubini’s Médée in the scene where Norma debates whether to kill her children.
From all this you’ll have gathered that bel canto isn’t really my thing so I’m probably not best placed to appreciate it. Nevertheless I was happy with the performances all round. I realise there at any time only a handful of singers in the world who can do the leading role justice. This Norma emphasised the power-wielding side of the character and there was a lot to be learnt from her diction – she had rolled r’s you could cut your finger on. The orchestra did a sterling job although I detected some slight mistuning just after the interval.
Anyway I’m very grateful Bath Opera are around to deliver productions of this ambitious repertoire within walking distance of my home (thanks to a new footbridge over the Avon). There was the usual clash with the Bachfest, and on this evening with a concert by Brecon Baroque. I was told that the latter couldn’t be faulted.