---
product_id: 82391034
title: "Bellini - Norma"
brand: "edita gruberovasonia ganassijurgen rose"
price: "$U4702"
currency: UYU
in_stock: true
reviews_count: 7
url: https://www.desertcart.uy/products/82391034-bellini-norma
store_origin: UY
region: Uruguay
---

# Bellini - Norma

**Brand:** edita gruberovasonia ganassijurgen rose
**Price:** $U4702
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- **What is this?** Bellini - Norma by edita gruberovasonia ganassijurgen rose
- **How much does it cost?** $U4702 with free shipping
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## Description

Edita Gruberova, Zoran Todorovich, Roberto Scandiuzzi, Sonia Ganassi, and Markus Herzog star in this Bayerische Staatsoper production of the Belini opera conducted by Friedrich Haider.

## Images

![Bellini - Norma - Image 1](https://m.media-amazon.com/images/I/71QUKVRZM+L.jpg)
![Bellini - Norma - Image 2](https://m.media-amazon.com/images/I/71VRBcT2hWL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ 







  
  
    Intriguing, refreshing new concept and approach
  

*by N***I on Reviewed in the United States 🇺🇸 on September 8, 2007*

Here is an intriguing new concept and approach to Bellini's near-masterpiece.  Filmed in the early part of 2006 at the Bavarian State Opera, the performance comes across  as a tightly-focused drama that plays up the dilemmas of the characters in a very intimate and personal way.The direction, sets and costumes, are all by Jürgen Rose.  Therewere some comments in initial reviews about the ugliness ofit, but I like it. It does not get in the way of the drama,and actually enhances it.  It is stark, dark and austere,residing in a perpetual, sinister night that never abates.I do not get in what period it is supposed to be set; someof it looks primitive, some of it looks faintly MiddleEastern; the pointed guns during the "Guerra!" chorusmodernizes it.  Overall, though, you do get a sense of acultish sect, one very tribal and ritualistic.  Thedominant colors are black and blue, and it works in lendingan eerie atmosphere, and looks forbidding and ominous.Oroveso is put in priestly robe and cap, while the men'schorus look like guerrilla warriors. The women's chorus andAdalgisa are all in black robes and head-snoods, and theylook impressively clannish.  Norma herself comes out in apatterned robe with a brilliant blue head-snood and"tribal" crown: it sets her apart as the head priestess. Acttwo features her in a simple black, somber shift, which sheadorns with a robe and a crown for the "Guerra!" chorus.Pollione and Flavio are in what look like tan ForeignLegion uniforms. Go figure.The set itself is quite innovative, a cinematic, two-tiered setup in which the top part is accessed by stairs.  The top part is the gathering place of the druids and priestesses, dominated by a large gong, andin the first act, by a mistletoe branch prominentlydisplayed; in front of the gong appears to be what is asacrificial block, from which Norma draws her knife.  Thelower part of this set is accessed by a trapdoor, fromwhich Norma emerges in her first scene.  This descends tostairs into Norma's dwelling, which is stark, and bare,dominated by a triangular geometric pattern in the backwhich is mirrored on the floor.  This set effectively showsNorma as hiding her indiscretions from the world, andforced to dwell underground in a kind of purgatorial hell,anxious about her treason and the danger of her position.Friedrich Haider demonstrates how to handlethe score (which is the complete Ricordi version), knowing just about how to accompany his singers, while taking rapt care to delineate all the textures ofthe orchestrations. Furthermore, the impetus of the drama iswonderfully brought out: in particular, the moment following 'Son io!' hasa tension, dread and sense of woebegone shock.The direction of the cast is quite inspired and often innovative. No concert in costume, this. Rose really plays up the love triangle, and has them playing off each other very actively; they all seem to be listening intently tothe words communicated. One thing Rose did very astutelywas to highlight the importance of the children. They areused like real children, with Norma reprimanding them as areal mother does, and they are made to be part of thedrama; she uses them to illustrate her position in thetrio, and you get the definite sense of what causes heranguish and conflicting feelings.  Rose has Pollione, handsbound, tied to the sacrificial block for most of "In miaman"; it works in showing Norma's dominance over him (in the usual stagings you never get the sense that Norma has enough strength or speed to plunge a knife into Pollione, a trained warrior; but here, tied up and powerless, he is convincingly at Norma's mercy). ForNorma's last scene, we see Adalgisa amongst the chorus,thereby increasing the tension.The performance is cast from strength.  Oroveso is not avery interesting character, but Roberto Scandiuzzi, deep ofvoice and suitably implacable of bearing, is convincingenough. Zoran Todorovich is a masculine,committed Pollione, an excellent actor who rises superblyto the drama.  His voice is baritonal and slightlyguttural, and not ideally flexible. His opening aria is pushed and loud, and blatantly unsubtle, and it does not help that the aria is thumpingly conventional. He is credible as the impassioned warrior, though, as well as lover; he woos Adalgisa most persuasively. Sonia Ganassi, an outstanding artist, is a sensational Adalgisa, vocally and histrionically.  Warm oftone, flexible of voice, sympathetic of character, shepresents an effective counterpart to Edita Gruberova'shigh-strung Norma.  They form an ideal partnership,blending, shading their duets together with elan andprecision.  Furthermore, Ganassi really presents Adalgisa'sown dilemma with unerring skill. Besides that, she's acharming presence, completely believable as the object ofPollione's affections.For Gruberova, this daring undertaking as Norma represents a near-end of career triumph. Here at 59, you hear a voice that is in astonishingly good condition: agility and legato intact, no wobble, no decline of her middle and top registers, none of that scratchy "old-soprano" sound.  That Gruberova made her staged debut as Norma at 59 and doing  indefatigibly, and undefeatedly so well in the process must be a one-of-a-kind achievement, not likely to be matched.However, it must be said that this is not the Norma of tradition.  That is, of 20th century tradition, of the casting of a dramatic soprano. Anyone expecting booming, pungent chest declamations will not find them here and may well be disappointed - especially if they learned to hear Norma in a traditional way.  This factor is likely to be a dominant one for many; for others, it is an alternative, a supplemental realization.  Montserrat Caballé's best captured performance - of any role of hers - of Norma from Orange will obviously serve as a more "classic" traversal on video for some; but why be stuck with one approach when you can have multiple interpretations.In the high-coloratura realm, Gruberova has a larger, more substantial voice, and can sing powerfully on high, but a strong chest register has never been hers. In those few, crucial, low-lying phrases throughout, she does not try to force what she does not have, but gamely gives her best, and compensates  by accenting and articulating the words forcefully. On the other hand, the role's more frequent extensions into the upper register are handled with an ease that few dramatic sopranos can manage.  There are numerous high Cs throughout, loud and soft, plus all the passages that require filigree legato, and a certain pliancy.  Here is where Gruberova scores, shaping Bellini's lines eloquently, infusing them with dynamic vividness.Dramatically, Gruberova portrays Norma as a vastly troubled woman, in constant turmoil between loyalty to her country, her broken vows, and  the discovery of Adalgisa and Pollione's treachery.  This portrayal is more the woman than the warrior, and you see that Norma's personal feelings are what cause her downfall: this aspect is played up very strongly.  The costumes, wigs and makeup are not flattering to Gruberova, making her appear rumpled and harsh; but you see that this Norma is exhausted, high-strung, strained in spirit, preoccupied - and perhaps the reason Pollione opted for the warmer, younger Adalgisa.There are many memorable moments throughout in this portrayal, that stand out:* `Sediziose voci' - Coming up from below hersubterranean dwelling, Gruberova's authoritative stride andstance command the stage.  Stern of face, this crucial openingflashes out with fire, rhythmical impetus and vigor; whatmay surprise is the fullness of the attack on middle voice,and a welcome chestiness I've not heard before; witness `e infranta cada.'* `Casta diva' - sung in G, it is fluid, silvery, barring a couple of slight blurs and flatting of turns; the repeated Bs, up to the C, are sung disconnected instead of joined together. The second verse, `Tempra o diva,' is sung even quieter, with a hushed, beautifully poised stillness.* `Ah, bello a me ritorna.' Perhaps the best acted of any I've seen. Gruberova does not merely stand and deliver this rather uninspired cabaletta as a trumpeting afterthought. She acts out the meaning of the text physically, facially and vocally - it is an aside for Norma, describing her pulsing excitement, joy and conflict at recalling Pollione's love. There's something else too, perhaps revelatory. At first hearing, her singing of this sounds different from all previous renditions, the coloratura passages more `connected,' deceptively slurred together rather than of distinctly articulated notes. Here's why. Practically every soprano turns the words in several of the florid runs into "Ah's, or even "Ha's, so that you hear HA-ow-hahaha-HA, ha, ha, ha, haaaaa."  Gruberova sings on mainly all the consonants and different vowels as it is written in the score, a much more difficult thing to do. As a result it sounds less sprightly and defined; you cannot sing words into scales and insert the "ha's" without distorting the line.  Therefore, the divisions sound less articulated. Not a terribly important point, but nevertheless an interesting factor.* The blending, give-and-take and interaction between Ganassi and Gruberova in their duets (both sung in their original, higher keys).  These two communicate thoughts, words feelings, physically and vocally, not just standing there facing the audience.* The finale to Act One - where you see all the principals in a mess of confusion and shock; Gruberova's "O non tremare" is sung with gusto, and she finishes off the act with a soaring high D.* The opening of Act Two is atmospheric, and Gruberova superbly realizes Norma's desolation, pacing around aimlessly, deeply troubled. "Teneri figli" is long-lined, expressive, and the moment of the near-stabbing of her children is gripping.* `In mia man" is Gruberova's heaviest challenge in the score. Lacking ideal heft in the lower regions of here voice, she nevertheless is helped by the staging, and her grave articulation of the text.* But it is the point of "Son io," on that caps it all.Brian Large is the video director, and he keeps the cameramainly on Gruberova. When she confesses, you see a kind ofastonished shock immediately following the words.  Normaimmediately takes off her ceremonial robe, crown and knife(which, like a warrior, she has in her hands constantlythroughout the performance), and lays it on the floor.  Thememory that has lingered strongest is in the section of"Norma non mente."  Looking like a veteran classicalactress, you see in Gruberova's large, hurt-stung eyes,burning an implicit combination of relief, exhaustion,shame, and humility, while she intones the words, heavy inirony.* 'Deh! non volerli vittime,' to the end of the opera, scales near-Olympian heights of tragedy. Singing in the most penitent and pleading accents of tone, Gruberova makes Norma's absolution and sacrifice believable. The performance here and the power ofBellini's music is momentous.This NORMA will obviously not replace or even be a first choice or consideration for an ideal representation - and nor should it serve as the first or last word. But for those wanting to hear an enticingly different slant and interpretation of this peerless opera, you may find many felicitous aspects to enjoy.

### ⭐⭐⭐⭐ 







  
  
    Why not 5 Stars?
  

*by A***R on Reviewed in the United States 🇺🇸 on June 22, 2007*

No doubt, this whole DVD is all about Gruberova. I have no problem to give five stars to this DVD just based on her performance. Then I think I should deduct some points for whatever else that I don't like.There are so many elements in a production of an opera: the set; the lighting; the costume; the concept of the stage director; the orchestra/chorus/conductor; and ultimately, the singers (after all, their voice is what we all came to hear). The quality of a DVD also comes into play. Fortunately, this disc was made using the latest technology, not a re-mastered piece; the quality of the disc is the best I have ever seen.By now I already get used to those minimal settings on the opera stage. This one does not upset me. But, can they put just a little bit more stuff on the stage? For one thing, I do agree with Archie that using an underground cave as a hideout for Norma and her children is a clever way in the setting. However, it was not obvious and I did not click the first time when she walked up to the stage from down there.The costume, which I think has quite a bit to do with the stage director's concept, it agitated me a little at first. I thought I was seeing the Romans in today's army uniform but the Gauls wore ancient clothes. What a match? As stage directors often transform the period of the plot to suit today's situation, then I thought it might be the Gauls were being portrayed as Muslims (in today's clothing, sort of). The idea is being that Christians (Romans) and Muslims don't mix (they are enemies in the plot). Remember the Crusaders? I might guess it wrong. But I would let it go this way for now. It should be clarified that in no way I am trying to inject any political correctness (or incorrectness) here. Just tried to figure out what was going on on-stage. Still, the army uniforms and the machine guns are bothersome.Now, the singers: Read through all the existing reviews, I did not find anything else but just nice words that please both Gruberova and Ganassi. I don't think I can (or need to) add anything more to it other than cheer along with them, with enthusiasm. In addition to the fine work of this two singers, the conductor and his orchestra have done an excellent job; their performance were totally first rate. Very seldom one could experience such fabulous sound from the pit. A thumb way up is in order. My big problem is with the tenor. I really cannot stand the way he shouted all the way in the first act. Though he finally came around in the second act. It is quite common that singers need time to warm up. Why took the entire first act to do that? The problem is not just the screaming. Though not a good thing, many tenors do that quite often. In this case he let all the air out from his lung (sounded like chest voice, or something else, not exactly know what it was). Using chest voice constantly is really bad. Then, he swung his body a lot, even more so when he scream. Too much acting!

### ⭐⭐⭐⭐ 







  
  
    Fine, but why does everyone have to dress in ...
  

*by N***N on Reviewed in the United Kingdom 🇬🇧 on May 7, 2018*

This is a review of Norma with Edita Gruberova and the Bavarian State Opera.  Fine, but why does everyone have to dress in medieval style but carry a Kalashnikov?  Is this opera set in Afghanistan?  Just plain silly.  My previous review of this opera was banned by Amazon's censors because of my strong language about the director.  Please supply your own four-letter words for pretentious opera directors, dear reader.

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