The Opéra de Rouen has recently been hosted by the Royal Opera House of Muscat in Oman, the first opera company in the Arabian peninsula. The stunning building, finely encased in white Italian marble, offers a gorgeous view against the rapidly darkening sky of the Omani sunset. The nightly atmosphere continued inside the auditorium, when the curtain rose on the first act of Vincenzo Bellini’s masterpiece Norma, which the French company brought to Muscat, along with an orchestral accompaniment to a filmed version of Sergej Prokofiev’s Peter and the Wolf.  

The production directed by Frédéric Roels with assistant Nathalie Gendrot featured sets by Bruno de Lavenère and costumes by Lionel Lesire. The sets consisted of a wooden structure encompassing the whole stage, opened on the top with a large hole from which the full moon peeped down. The chorus of the Druids sported peasants’ outfits, which highlighted their disheartened yet demure attitude. Norma, in her turn wore a long gown that gave her a pretended authoritative look.

After the overture, Oroveso, bass Wojtek Smilek, comes on stage summoning the Druids, who call for Norma’s intervention. When they leave, Pollione and his companion Flavio enter the scene. The ensuing duet should provide an insight into Pollione’s heroic yet hesitating character. In Muscat, Pollione was tenor Marc Laho, who tried his best to encompass the wide range, but his audibly effortful singing left him at odds with the lower register.

When the two Romans leave again, it is Norma’s turn with the recitativo “ Sediziose voci” and the audience favorite aria “Casta diva.” Soprano Elena Mosuc in the title role is more at ease with lighter roles, and in fact she only debuted Norma five years ago and did not tackle the role again until this production. However, taking it up again proved a good choice. In spite of having to force her voice slightly in the opening recitativo, the soprano sounded more at ease in the aria, and as the opera progressed she carved a compelling character, showcasing her vocal and interpretative skills. Especially compelling were the duet with Adalgisa and the ensuing trio with the two women and Pollione.

Adalgisa was mezzo Anna Kasyan who, in spite of a slightly nasal emission, displayed a nicely colored voice with a ringing top.

The stage director together with choreographer Dominique Boivin, decided to collaborate with the Beau Geste dance company, and have three dancers moving on the verge of the top hole, replicating the action, who added a rather disturbing and unnecessary distraction. Quite compelling were the children, hidden in an underground space that was opened by a hatch on the stage, who were taken care of by a delicate nanny, mezzo Albane Carrère.

The orchestra of the Opéra de Rouen was skillfully conducted by Fabrizio Maria Carminati, who highlighted the multifaceted and nuanced character of the orchestral score, while always paying close attention to the stage. In the end, all singers received a huge tribute of applause from the local and international audience, with a standing ovation for Mosuc by an enthusiastic group of Omani fans.