Norma, opera review: Here’s trouble in the woods

The climax here is a powerful one, but oh dear, it takes so long to get there, says Barry Millington
Impressive: Marjorie Owens and Peter Auty
Alastair Muir
Barry Millington18 February 2016

Though regarded with reverence in the 19th century and immortalised by Callas and Sutherland in the 20th, Bellini’s Norma has never until now been given by ENO. The production by Christopher Alden (first seen at Opera North in 2012), with sets by Charles Edwards, reimagines the Roman-era Druids as a 19th-century hermetic community ensconced in the woodland (or more accurately in a giant log cabin). When its high-priestess Norma fails it, the community threatens to fall apart; these oppressed folk feel they have no future without a charismatic leader to inspire them and rapidly select a new one.

The climax is a powerful one, but oh dear, it takes so long to get there. Scene after scene is presented as a frozen tableau, drained of action, emotion and, with Adam Silverman’s greenish-white lighting, colour. It’s a high-risk strategy and as yet, it’s not working properly with this cast. Too much of the character interaction, such as it is, seems unmotivated, even comical. It doesn’t help that Stephen Lord’s tempi are so broad: he’s a fine conductor who knows how bel canto should go, but this catatonic staging needs to be galvanised far more than it is here.

Marjorie Owens, warm and vibrant of tone, is impressive in the formidably taxing title role. Equally accomplished is the attractively voiced Adalgisa of fellow American Jennifer Holloway. Local favourite Peter Auty doesn’t disappoint in the bravura tenor role of Pollione, while James Creswell’s baleful bass makes for a dour reading of Norma’s father Oroveso.

The excellent chorus, who portray the demoralised community all too realistically, received a rousing reception for its efforts.

Until March 11, Coliseum (020 7845 9300, eno.org)

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