Opera Reviews
29 March 2024
Untitled Document

A mixed bag vocally in Piacenza's Norma

by Silvia Luraghi

Bellini: Norma
Teatro Municipale di Piacenza
22 October 2021

Angela Meade (Norma), Stefano La Colla (Pollione), Paola Gardina (Adalgisa)

As all performing arts venues have returned to full occupancy in Italy, several companies are opening their new season full of expectations. Season opener at Piacenza’s Teatro Municipale was Vincenzo Bellini’s Norma, a challenging title for any opera producer.

The opera was directed by Nicola Berloffa, in collaboration with set designer Andrea Belli and costume designer Valeria Donata Bettella. The original production was shown in 2016 in St. Gallen, and toured some French opera houses before the pandemic. This revival, co-produced by Piacenza’s Teatro Municipale, Modena’s Teatro Comunale Luciano Pavarotti, where il will be shown shortly, and Parma’s Teatro Regio, underwent various adaptations to comply with the distancing measures required by the current sanitary conditions.

This notwithstanding, the basic concept of the stage director remained the same: the action was transposed to 19th century Europe, an age of turmoil, with the shattered Gauls attempting a desperate act of resistance against the Romans. The sets reproduced a decaying palace, in which the Gauls found refuge, their defeat visually indicated by crutches and bandages. Among them, Oroveso stood up as a charismatic leader, interpreted by bass Michele Pertusi.

And indeed, Pertusi stood out among the whole cast, easily qualifying as the best on stage on account of his perfect vocal interpretation, as testified by the ovation from the audience. The rest of the cast was uneven. In the title role, soprano Angela Meade displayed a well-tuned range, somewhat effortful towards the top. Her Norma was especially compelling in her thoughtful moments before discovering Pollione’s betrayal, than when showing her more aggressive side. The latter was tenor Stefano La Colla, whose ringing and huge voice failed to convince in a role that has much bel canto in it. He tackled the role with force, with a somewhat nasal emission and at moments singing out of pitch. Much better was mezzo Paola Gardina’s tasteful Adalgisa, contrasting well with Meade’s passionate Norma.

The chorus of Teatro Municipale di Piacenza instructed by Maestro Corrado Casati gave an important contribution to the final success of the performance, as did conductor Sesto Quatrini, who led the Orchestra Filarmonica Italiana with great attention to each single instrument. All principals received their share of applause after individual arias, with more applause at the end by the audience visibly cherishing the back-to-normal atmosphere.

Text © Silvia Luraghi
Photo © Cravedi / Verile / Cavalli
 
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