Bellini Norma
September 2007 Reviewed by: Wes Marshall Format: DVD	(all ratings out of 5): Overall Enjoyment Picture Quality Packaged Extras Sound Quality

Vincenzo Bellini (1801-1835) set Norma against the backdrop of Druids resisting the Roman invaders. When the Druid priestess Norma (Edita Gruberova) falls for the enemy Roman Proconsul Pollione (Zoran Todorovich), both sides feel betrayed.

This simple story has held a frightening hold on the sopranos of the last two centuries. The writing is in the style of bel canto, which requires a singer who can power over a full orchestra, juggling sixteenth notes yet capable of floating a 20-second long ppp. For the better part of the last century, Maria Callas was the reigning Norma. Her achievement in the role was so powerful, most sopranos were afraid to compete. So why does Norma hold such a great power over sopranos? The answer lies in two words: "Casta diva."

Despite the frightening aura of Pavarotti’s towering abilities, tenors still have a go at Turandot’s big aria "Nessun dorma." But sopranos have been a little more circumspect about taking on Callas’s "Casta diva." Besides the perfection of the singing, Callas had conquered the role early in life. She had her breakthrough performance of the role in 1952 at Covent Garden. Callas was 29 years old.

So what’s up with Edita Gruberova, singing the role at the age of 60? The audience in Munich must have wondered whether she could handle the range with the requisite power, and whether she could be a good enough actor to take her age out of the equation. Gruberova wins. Mostly.

Listen to her "Casta diva" (chapter 8), where she leans into and falls back from the notes, using rubato almost like a jazz singer. Her duet with Adalgisa (Sonia Ganassi), "Oh! Rimembranza!" (chapter 17) is a thing of rare beauty. Gruberova’s voice is a miracle at 60. No quavering, no wide vibrato, no leather-lunged screaming. Just perfection.

The best moments in the opera occur when Ganassi and Gruberova are singing together. Their voices entwine gorgeously, with Ganassi’s lighter voice acting the perfect foil for Gruberova’s weightier sound. Watch scene 3 (chapters 3-6 on the second DVD) for an extended duet with Norma and Adalsisa trying to decide what to do with the ruins of their lives.

The only problem is the disconnect of seeing a 60-year-old woman (who, it must be said, looks every day of her age), trying to play a 30-ish-year-old woman. The voice is there, and the acting ability is there, but there’s nothing Gruberova can do about her looks.

There’s one other problem. Why do German directors feel like they have to restage everything? Here we have the Druids running around with AK47s, the men dressed like terrorists and women with full burkas. OK, we get it. The poor Muslims are oppressed like the Druids were. Thanks for the lecture. Can’t we just have the operas done they way they were written?

Those two quibbles aside, this is a wonderful version of Norma, the best available today. Since it was shot in high definition, we’ll probably get a Blu-ray or HD DVD some day, but for now, the picture is perfectly clear and the camera movements are well judged. Deutsche Grammophon’s recording, especially on the DTS track, is a model of clarity, with good depth and a generous sense of space.

The big miracle in the stingy world of opera on DVD is that there is an 11-minute "making of" feature. Why are opera producers so late coming to the party? You get more extras on Porky’s than you do on the complete operas of Mozart. But, at least this is a step in the right direction. And for Gruberova groupies, don’t get too excited about the discography in the extras. It only covers her Deutsche Grammophon recordings.

Despite the age issue, Gruberova seizes the role and stakes her claim on being the best Norma alive. For those wanting to know what the excitement over bel canto opera is all about, this production will give you a good introduction.

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