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Random Repertoire and Undercroft Opera present:

Bellini's Opera NORMA

Thursday, Sept. 2nd @ 7:30 pm (7:00 pm reception)
Sunday, Sept. 5th @ 3:00 pm (2:30 reception)

You can enjoy Random Repertoire and Undercroft Operas' production of Bellini's opera, Norma while you help out the Roadhouse Theater. That's right, we're going to 'rock and roll' the house the way they did back in 1831 as we 'raise the roof' for the Roadhouse! You won't want to miss this event which features the incredible talent of Kelly Fiona Lynch, Mary Beth Sederberg and Robert Frankenberry under the direction of Alethea Bodine. Witness a classic tale of love, lust and deceit in a climate of political turmoil. Just think... it's opera at the Roadhouse!

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THE PERFORMERS...

Norma - High Priestess of the Druids --- Kelly Fiona Lynch
Pollione - Proconsulate of the Romans --- Robert Frankenberry
Adalgisa - Druidic Virgin Priestess --- Mary Beth Sederberg
Clotilde - Druidic Virgin Priestess --- Keri Weber
Flavio - General of the Roman Faction --- Chris Danjou
Oroveso - High Priest of the Druids - Father of Norma --- Amitabho Chakrabati

Choir of Druids ---

Patrick Becker
Gabriel Borrero
Marc Donlin
Katelyn Kurpiewski
Daniele Lombardi

Pianist --- Ray Blackwell

Director --- Alethea Bodine

Lighting Technician --- Keith Stanton

Costume Mistress --- Lisa Stanton

A SYNOPSIS NORMA...

ACT ONE

In their sacred grove Oroveso, the High Priest of the Druids, leads his people in a prayer to their gods for help in defeating the Romans who are occupying Gaul. The leader of the occupying forces is the Proconsul Pollione, who has been the secret lover of Norma, the High Priestess and also Oroveso's daughter. She has broken her vow of chastity and borne him two children. However, Norma means nothing to him now, because he has become infatuated with the temple virgin Adalgisa. He confesses this to his confidant, but their conversation is interrupted by the sound of the gong which introduces the druidic rites. Norma performs the rite of cutting the sacred mistletoe with her golden sickle, then tells the Gauls that the time is not propitious for an attack on the Romans, whose days of dominance are numbered anyway. She hopes to save Pollione's life through this message and then prays to the chaste goddess of the moon to end all warfare. After the rite is over, Adalgisa comes to the grove to pray, but finds herself face to face with Pollione, whose seductive speeches soon win her over. She goes to see Norma, who knows that Pollione is to be recalled to Rome and plans to take his new love with him. Norma does not know who this new love is, any more than Adalgisa knows of the previous liaison between Norma and Pollione, but when Pollione arrives, both women betray the truth about themselves and the act ends with all three characters unleashing their emotions in a dramatic trio.

ACT TWO

Norma is so distraught that she contemplates killing her own children rather than let them be taken to Rome as slaves, with Adalgisa as a stepmother. She is however overcome with remorse and when Adalgisa enters she urges her to become Pollione's bride. Adalgisa refuses to come between Norma and Pollione, and in a spectacular duet the two women vow that nothing shall destroy their newly-cemented friendship. Adalgisa goes off to remind Pollione of his duty towards Norma, but it is reported to Norma that Pollione is determined to keep Adalgisa and take her to Rome by force. Demented with rage and jealousy, Norma summons the Gauls and tells them that the gods will now support an attack on the Romans. The Gauls sing a tremendous battle chorus, but Norma's confidante then reports that Pollione has been captured while breaking into the priestesses' sanctuary. Norma has to pass judgement on him, but is not able to kill him. She asks to be left alone with him and then offers to save his life if he will give up Adalgisa. He refuses and Norma recalls the Gauls, only to reveal to them that a priestess has dishonoured her sacred vows and deserves to be burned at the stake. Pollione assumes that she means Adalgisa, but Norma admits that she means herself and begs Oroveso to forgive her and take care of her children. The horrified Gauls lead her away to execution, and Pollione, inspired by her heroism, resolves to die beside the woman he has loved and betrayed.

ABOUT VINCENZO BELLINI...

Vincenzo Bellini was born in 1801 and died, prematurely, September 23, 1835 at the age of 34. Norma was written at the peak of his career and the first performance was given in Milan on December 26, 1831. The libretto was written by Felice Romani, whom at the time, kept a close eye on the Parisian theater scene. He was familiar with the success of a recent play, Norma, ou L'Infanticide by Alexandre Soumet. Soumet's play was an interesting conflation of three mythical women – Euripides's vengeful sorceress, Medea, Chateaubriand's pagan enchantress, Velléda, and Spontini's errant vestal virgin, Julia. From Medea he drew themes of infanticide, from Velléda, an alluring pagan leader at the time of Roman occupation, and from Spontini, a priestess in violation of her vows. Thankfully, Romani omits much of the playwright's violent imagery, having his Norma only contemplate the agonizing choice of killing her children to spare them humiliation in Rome. Norma is thusly faced with a series of difficult choices, at each junction making the wrong one. Ultimately finding herself with no further recourse, she takes her own life with dignity. We see Norma from all angles – haughty priestess, vulnerable woman, caring mother, betrayed avenger. Her nobility and sacrifice is unmatched by those heroines of Bellini's other operas, or even those of his contemporaries. It is also interesting to note that the opening of Norma was a fiasco.

The story of the Druid Priestess Norma (who breaks her vows and has an affair with the Roman Proconsul Pollione, the oppressor of her people) inspired Bellini to compose some of his most divine melodies. The great soprano aria 'Casta Diva' has one of the most beautiful melodic lines in all opera. The duet for soprano and mezzo 'Mira o Norma' and its glittering cabaletta are distinguished by daring harmonics and challenging pyrotechnics. Norma is the quintessential Bel Canto opera. Several great interpretations of the role can be found on many recordings, ranging from Rosa Ponselle's of 1929 to Renata Scotto's of 1980. For Maria Callas, Norma was her signature role and she sang it over 40 times. Bellini's Norma combines the requirements of both a coloratura and a dramatic soprano, calling for not only perfect vocal agility but intensity, stamina, and a wide range of characterizations as well.

After its shaky start, Norma garnered strength and survived a strong run for the rest of the season. The opera quickly made it to Naples, Bergamo, and Venice the following year, and abroad to Vienna in 1833. While a student the young Verdi attended a performance in Milan and later in life remarked on the opera's great significance. Wagner was quick to program the new opera while a young conductor in Riga. Within a few years Norma was to be known worldwide and has never really fallen out the popular repertoire. Bellini was aware of his special accomplishment, holding the opera in high esteem, above all other works, for the remainder of his short career. He considered it his "desert island opera" - stranded with but one of his creations, Norma would become his favorite.