- 2 dec 2017 – 4 feb 2018, Main Stage.
- Duration: 3 hours, including 1 interval.
- Giancarlo Andretta
- Direction and set design
- Stéphane Braunschweig
- Georges Gagneré
- Costume design
- Thibault Vancraenenbroeck
- Lighting design
- Marion Hewlett
- Johanne Saunier
Ticket price SEK 100-640. Ten performances, runs until 4 February. A co-production with Théâtre des Champs-Elysées, Opéra de Saint Etienne and Staatstheater Nürnberg. Sets and costumes created in the workshops at Opéra de Saint Etienne.
A mistress as capricious and beautiful as the moon.
Opera in 2 acts by Vincenzo Bellini (1801-1835).
Libretto Felice Romani, based on the drama by Alexandre Soumet.
Sung in Italian with Swedish surtitles.
”I want to immediately see and hear the performance again.”— GP
”A perfect example of female power and sisterly solidarity.”— GT/Expressen
”The chorus and orchestra get Bellini's music to ring out like never before.”— DN
”A real song-lover's opera.”— SR Kulturnytt
The priestess Norma’s dilemma is relevant to us all: what is most important in a chaotic time of nationalism and religious strife? Duty or passion; ourselves, or those we love?
Bel canto means beautiful singing; a term that has lent its name to an entire style of opera. Norma is the pinnacle of bel canto opera – a tragic love triangle, interwoven with sensual and beautiful music, such as the aria ‘Casta diva’.
For Bellini, the singing and the extended melodic phrases were at the heart of the opera. The title role in particular demands everything from dramatic outbursts, to ethereal, mellow lines and virtuosa coloratura. There are not many singers who can rise to the challenge, but we are proud to present a home team of singers. We follow the composer’s intentions and allow Norma to be performed by deeper-voiced soprano, Katarina Karnéus, while her rival, the youthful Adalgisa, is sung by a higher-voiced soprano, Ida Falk Winland. The company’s leading tenor, Tomas Lind plays the deceitful Roman, Pollione. Conductor Giancarlo Andretta has the essence of bel canto in his blood. He is a returning and sought-after guest, most recently for Verdi’s La traviata.
Norma (which had its world premiere at La Scala in 1831) marks the breaking of a strange pattern: this is the first dramatic production of a Bellini opera in Gothenburg since the 1800s. This powerful staging comes to us from the Théâtre des Champs-Élysées in Paris.
Images from Norma