ARTS . Opera

Gaul, Interrupted

Though inconsistent, Norma packs a punch.


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Published: Apr 16, 2008

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Bellini's 1831 Norma packs a huge musical-dramatic punch, and anyone interested in truly grand Italian opera should catch the Opera Company's current production. If unevenly conducted (Corrado Rovaris) and directed (Kay Walker Castaldo), it certainly presents a better leading quartet than did the Metropolitan Opera's fall version of the same opera.

Like many modern directors, Castaldo assumes that contemporary audiences cannot be trusted with synopses, thus staging much of the overture as a backstory showing how the Roman proconsul Pollione met and wooed the Druid priestess Norma. Worse story violations follow, providing images befitting a Lifetime movie about contemporary divorce: Pollione, onstage too often and too familiarly, plays with the couple's sons (hidden as per the libretto) in a public space visible to all. It makes no sense that the hated Pollione is continually within easy killing reach of his enemy, the Druids. That the little kids hang off their parents' arms during their furious confrontations and while Norma bonds with Adalgisa (Pollione's other, younger Druid love interest) — as well as, incredibly, in the wrenching final scene as the lead couple go to their death by fire — is just misguided, anachronistic sentimentality. John Conklin's sets offer intriguing perspectives, but the jumbled costumes seem like leftovers.

The overture — incorporating ever-loathsome slow-motion battle — spoiled the mystery of Norma's famously challenging entrance scena, when any prima donna would be better off calmly backstage. Christine Goerke, her voice noticeably grown in power, has made considerable strides in mastering this murderously tough iconic role since her first try (Seattle 2003) — but she's not quite out of the Gallic woods yet. The acting and declamation are really superb, her coloratura largely remarkable. What she lacked opening night (April 4) was ease in seamlessly floating Bellini's long-breathed melodies. I'm betting Goerke settles down as the run proceeds; as it is, it's commanding, admirable work. Kristine Jepson, an OCP newcomer, offers a sympathetic, creamy-toned Adalgisa. As Pollione, Philip Webb's stalwart tenor combines baritonal heft and a clean high range up to an impressive C. Playing Oroveso, Norma's father, Eric Owens impresses with disciplined musicality and a moving dramatic performance. Curtis students Allison Sanders (Clotilde) and Dominic Armstrong (Flavio) illuminate their brief roles. Rovaris, too, may settle into a more natural Bellinian flow.

(d_shengold@citypaper.net)

Norma Through April 18, Opera Company of Philadelphia at the Academy of Music, 1420 Locust St., 215-893-1018, operaphilly.com