Review Roundup: NORMA at the Metropolitan Opera

NORMA opened at the Metropolitan Opera starring Sondra Radvanovsky in the title role. Angela Meade also stars, along with mezzo-soprano Kate Aldrich (Adalgisa) and tenor Aleksandrs Antonenko (Pollione). Riccardo Frizza conducts. The production runs though November 1, 2013. For tickets or more information, visit: http://www.metoperafamily.org/opera/norma-bellini-tickets.aspx

Let's see what the critics had to say:

BWW's own Scott Frost says: Bellini's "Norma" opened at the Metropolitan Opera last Monday night to a full audience giving resounding praise to the leading lady, soprano Sondra Radvanovsky. Ms. Radvanovsky's performance of the title role was incredibly expressive and most articulately nuanced. Her inaugural American performance of the role was the driving force that kept John Copley's otherwise dull production moving forward. Having been the first time she has sung bel canto at this house, she performed with amazing elegance, drawing the audience to her voice with seductive pianissimos and trumpeting top notes.

Vivien Schweitzer of the NY Times says: Ms. Radvanovsky proved dramatically and vocally arresting in her inaugural American performance of Bellini's "Norma," as John Copley's drab production returned to the Met for the first time this season. Ms. Radvanovsky has made a name for herself in recent years as a Verdi interpreter, but recently added bel canto roles to her repertory. She has described the title character in "Norma," which she recently sang in a concert performance in Catalonia, Spain, as her ideal role both vocally and temperamentally.

Barry Bassis of Epoch Times says: As expected, Radvanovsky brought the house down with her rendition of the famous aria "Casta diva" in the first act and maintained the high standard throughout. No one else on stage quite matched her.... As Adalgisa, mezzo Kate Aldrich blended well in her duos with Radvanovsky but the combination lacked the electricity of the Joan Sutherland and Marilyn Horne recording of "Norma," admittedly a high bar to overcome.... Tenor Aleksandrs Antonenko (Pollione) has a fiery style and hits ringing high notes but is somewhat more convincing as a soldier than a lover. James Morris's Oroveso was solid, though his voice has become rather dry.

Sophia Vastek of the NY Classical Review says: Resuscitating a production that premiered in 2001 to less than stellar reviews takes some courage, but it quickly became apparent that the main reason for the Metropolitan Opera's revival of Vincenzo Bellini's Norma, was as a vehicle for for the powerhouse soprano Sondra Radvanovsky. The infamously demanding title role requires a hefty dramatic edge, all the while coupled with ease and agility, and Radvanovsky could not be more perfectly tailored.

Martin Bernheimer of ft.com says: Her [Sondra Radvanovsky's] voice is big and lustrous, exceptionally bright at the top, darker at deeper depths. She commands a vast range of notes and a broad range of dynamics. She rides the grand climaxes with a keen cutting edge, with smashing power and apparent ease. When needed, she executes ravishing pianissimo phrases and, even more striking, exquisite diminuendos. She conveys both passion and dignity with focused economy. As circumstances permit, she adjusts her generous output to match that of lesser colleagues. She assumes conventional operatic poses with compelling conviction, reinforced by an attractive stage presence. She may occasionally attack ascending lines a bit from below, and she may occasionally smudge fioritura flights. In context, however, such quibbles border on irrelevance.

Rebecca Lentjes of bachtrack.com says: Throughout the tensely-anticipated Act I aria "Casta Diva", Ms Radvanovsky's voice had glowed and shone like the night sky, an ever-present motif in the opera. In her shimmery gown, surrounded by druids and priestesses, she implored the moon goddess to bestow peace to their people. The earth tones and pianissimo murmurs of the chorus only served to emphasize the dignity in Ms Radvanovsky's demeanor and widely-varied dynamics. Her voice rippled and pulsed with light, evoking the moon that was here represented by a simple orb suspended against the backdrop. And like the moon, her voice was round and full and enduring. Ms Radvanovsky was convincing not only as the determined high priestess but also as the betrayed wife, the protective mother, the empathetic friend. The fact that the opera was composed in 1831 - and takes place in 50 B.C.E. - was irrelevant: the emotions were persistently present. The anguish filled up the vast opera house as deftly as Ms Radvanovsky's voice did.

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