Interludes

THE HANGOVER REPORT – David McVicar’s new production of NORMA for the Met is grounded and theatrically satisfying

• By drediman
• October 17, 2017
• No Comments

Sir David McVicar’s new production of Bellini’s “Norma” at the Metropolitan Opera.

Last night, I finally caught up with Sir David McVicar’s new production of Bellini’s Norma at the Metropolitan Opera, replacing John Copley’s dismal 2001 staging. Happily, the new production by Mr. McVicar – one of the genre’s more astute directors – is theatrically satisfying, if lacking some of the “wow” factor that Met productions have been known for. Nevertheless, I’ll take this grounded, decidedly conservative take (Robert Jones is responsible for the evocative, murky set designer) any day. It’s well-researched and compelling in its storytelling.

Sadly, as the vengeful high priestess of the Druids, I just missed the great Sondra Radvanovsky, who opened the 2017-18 season in this new staging, in one of her signature roles (I had seen her in the Copley production four years ago, and she was sensational), one of the most demanding in the operatic repertoire. Taking the baton from Ms. Radvanovsky last night was Latvian soprano Marina Rebeka. She was divine. Although Ms. Rebeka, who possesses a powerful, bright voice (more traditionally beautiful than Ms. Radvanovsky’s steely, distinctive instrument), started off tentatively, her Norma slowly built to a full-throttle portrayal that won over the audience. Certainly, her “Casta diva” cast a spell, among other memorable moments. She only has one more performance as the fiery priestess at the Met.

Remaining in the cast, also for one more performance, is the awesome American soprano Joyce DiDonato, one of opera’s finest singing actresses. She nailed the character of Adalgisa, passionately singing and acting the heck out the role. Her creamy, luxurious tone contrasted gorgeously with Ms. Rebeka’s more piercing sounding; both handled Bellini’s challenging vocal writing with expert dexterity. Rounding out the love triangle was Joseph Calleja, who, with his weighty yet ringing tenor, was solid as the Roman officer with whom both Norma and Adalgisa fall in love. As always, the Met Orchestra sounded fabulous under conductor Carlo Rizzi. Kudos, as well, to the Met Chorus, who sounded tremendous.

RECOMMENDED

NORMA
Opera
The Metropolitan Opera
3 hours, 10 minutes (with one intermission)
Plays in repertoire through December 16