Organization

Singer

Tenor

Vittorio Grigolo

Pollione

Bass

László Polgár

Oroveso

Soprano

Elena Mosuc

Norma

Michelle Breedt

Adalgisa

Liuba Chuchrova

Clotilde

Benjamin Bernheim

Flavio

Conductor

Paolo Carignani

Stage director

Robert Wilson

Set designer

Costume designer

Moidele Bickel

Lighting designer

A. J. Weissbard

Chorus master

Ernst Raffelsberger

Opernhaus Zürich

olasz

Zurich

Switzerland

Opernhaus

Norma Bellini

német

angol

Approved

Conductor - Paolo Carignani Director - Robert Wilson Stage design - Robert Wilson Lighting design - Robert Wilson, AJ Weissbard, Hans-Rudolf Kunz Co-director - Gudrun Hartmann Stage design collaboration - Stephanie Engeln Costumes - Moidele Bickel Choir master - Ernst Raffelsberger Orchestra - Orchestra of the Zurich Opera Choir - Choir of the Zurich Opera With Elena Mosuc (Norma), Michelle Breedt (Adalgisa), Liuba Chuchrova (Clotilde); Roberto Aronica (Pollione), Giorgio Giuseppini (Oroveso), Michael Laurenz (Flavio) The opera by the Sicilian composer, who died early, was premiered at La Scala in Milan in 1831 and is considered to be the pinnacle of bel canto. Demanding coloratura, wide arcs of melody and dramatic increases, as well as the aura of the title character, who is almost mythical in stature, have made "Norma" a cult piece within the Italian repertoire since the legendary reinterpretation by Maria Callas in the 1950s. The basic conflict about the Gallic druid priestess, so touchingly captured by Bellini in music, has cosmic dimensions if Felice Romani's libretto is taken seriously: It is no coincidence that Norma directs her famous prayer "Casta Diva" to the goddess of the moon, who in the opera is the warlike sun god of the Gauls adored Irminsul is contrasted. As a spiritual ruler, Norma outshines the authority of her father Oroveso, the head of the Druids. From this special position she tries to bridge the gap to the Roman world of her secret lover, the proconsul Pollione. But the father of her children, whom she is not even allowed to have as a priestess, has turned to a younger priestess: Adalgisa. So the tragedy takes its course. In the end, Norma grows beyond herself and deeply shakes not only her unfaithful lover, but also Oroveso and her people through her self-sacrifice. With Robert Wilson, whose groundbreaking Wagner interpretations made theater history at the Zurich Opera House, an artist is turning to this multi-layered oeuvre that radically denies any psychologization in the theater and, with its unmistakable aesthetic, will enable a surprising new view of Bellini's “Norma”. Elena Mosuc takes the title role. SHOW LESS

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