Renowned for reviving rare operatic works, the Festival della Valle d’Itria (established in 1975), marks its 50th year with a performance of Bellini's Norma. A choice that, due to the popularity of the title, could appear contradictory with the festival’s tradition, except that this Norma (not seen in Martina Franca since 1977) is presented in its original two-soprano version, accompanied by a new critical edition from the musicologist Roger Parker. Scores with a mezzo Adalgisa have been customary since the early 1900s, but they diverge from the composer's original intentions.
Director Nicola Raab keeps her production as simple and static as possible, with a dramaturgy based on minimal movement and played on the exchange of glances and touching hands, especially between Norma and Adalgisa. For the stage design, Leila Fteita reuses elements from the previous day's Aladino e la lampada magica, including a curved wall with a Pompeian red finish. To add dramatic flair, there are video projections, consisting of a large tree for the meeting of Pollione and Adalgisa in the forest clearing, and flames for the finale, where the two are burnt. The minimalistic set allows for fluid movement of characters and chorus.
Jacquelyn Wagner's portrayal of Norma was marked by a blend of hieratic presence and vulnerability, with quite a clear, firm voice and confident high notes. Other than a priestess invoking peace, Norma is a woman suffering from betrayal in love: the slow tempo in “Casta Diva” was initially a concern, but her performance after this aligned well with the role's demands. Wagner reached her peak in her duets with Adalgisa, sung by Valentina Farcaş, who skilfully conveyed emotional turmoil and conflicted loyalty with a bright and sweet soprano and acting finesse. Their two voices blend very well.
Airam Hernández showed clarity of timbre and nuance of phrasing, bringing control to the traditional impetuosity attributed to Pollione, avoiding dramatic excess and delivering a musically correct portrayal.
Goran Jurić's Oroveso did not lack the solemnity the role typically requires, embodying the character thanks to his resounding bass and a good projection. Zachary McCulloch was an eager but quite unnoticeable Flavio, while Saomi Dugiyama performed well in the role of Clothilde.
Fabio Luisi's conducting extracted every ounce of elegance and passion from Bellini’s score. His was a highlight, characterised by a transparency that brought out the interplay of timbres, showcasing a mastery of tempi and rhythms, with smooth sounds and dynamics and avoiding excessive energy, apart from when harshness was required to support and give strength to the choir. The Orchestra and Coro del Teatro Petruzzelli di Bari, under Luisi's refined guidance, executed a performance free from any hint of bombast.
Lorenzo's press trip was funded by the Festival della Valle d'Itria.
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