Norma
Vincenzo Bellini
Nouvelle production de l’OnR.
Opera in two acts.
Libretto by Felice Romani.
First performed on 26 December 1831 at the Teatro alla Scala in Milan.
Infos
Mulhouse
La Filature
Strasbourg
Opéra
Entracte compris.
Une heure avant chaque représentation, nous vous proposons un prologue de 30 minutes pour vous familiariser avec l’œuvre et la mise en scène que vous allez découvrir.
À l'Opéra de Strasbourg, le prologue aura désormais lieu, jusqu'à la fin de la saison, en Grande salle. En raison de la fermeture du Café de l’Opéra, le service de bar et de petite restauration avant la représentation et lors de l’entracte sera proposé au Foyer Paul Bastide. Compte tenu du nouveau dispositif, l'accès est réservé aux détenteurs d'un billet pour la représentation du jour.
Avec le soutien de Fidelio.
Cast
Direction musicale Andrea Sanguineti Mise en scène et conception vidéo Marie-Eve Signeyrole Décors et costumes Fabien Teigné Dramaturgie Louis Geisler Chef de Chœur de l’Opéra national du Rhin Hendrik Haas Chœur de l’Opéra national du Rhin, Orchestre symphonique de Mulhouse
Artists
Norma Karine Deshayes Adalgisa Benedetta Torre Pollione Paolo Fanale Oroveso Önay Köse Clotilde Camille Bauer Flavio Jean Miannay
Presentation
With the moon high in the sky, rumours spread through a crowd of worshippers. Will the one they so eagerly await perform her mysterious art before them? Some doubt it; others feverishly wait for her to appear. At last, the crowd falls silent as their idol steps forward to lead them in ancient worship, her eyes closed, her arms folded over a magnificent robe. Time seems to be suspended on her lips, forming an enigmatic smile on her inscrutable face. The long-awaited miracle occurs: her golden voice rises as she sings her eternal hymn, Casta diva, dedicated to the goddess of the moon. But behind this unshakable confidence lie the wounds of a woman betrayed in love and weary of the priesthood.
Of all the romantic bel canto roles, Norma is considered one of the most challenging, requiring exceptional qualities from the performer. The work was neglected in the early 20th century until Maria Callas rescued it from relative obscurity and made its cavatina her signature piece, going so far as to proclaim: “Bellini composed Norma for me.” Since then, the greatest performers have taken it on. Now it is Karine Deshayes’ turn to continue the legacy in a new production by Marie-Eve Signeyrole, directed by Andrea Sanguineti.
In Italian
Overtitled in French, German
