The Norma Conquest of Vienna
It’s not often that rival opera companies in the same city schedule a new production of the same opera in the same season. It’s 48 years since there has been a staged production of Vincenzo Bellini’s Norma in Vienna. Now there are two.
The Viennese “Battle of the Normas” was never intended as such. Vasily Barkhatov’s staging at Theater an der Wien was originally slated for 2020, but the pandemic forced a postponement until it could be squeezed into Asmik Grigorian’s busy diary, opening just six days before Cyril Teste’s production at the Staatsoper.
I reviewed the first night of each for Opera Now. Links below:
Plaster cast-a diva: it’s Norma or bust in Vienna (MusikTheater an der Wien)
Bouquets for Federica Lombardi in Cyril Teste’s aromatic Norma (Wiener Staatsoper)
Inevitably, comparisons are to be made. Regarding productions, Barkhatov wins hands down, although not everything works. With Norma robbed of any sacred responsibilities, the stakes are lowered, meaning the director can’t really end the opera with her self-immolation, but he still keeps the tension high in the closing pages. Teste seems incapable of generating any excitement, although his production looks very beautiful and will be easier to revive – an essential in a repertoire house.
When it comes to the casts, arguably each was singing in the wrong house. Grigorian, Aigul Akhmetshina and Freddie De Tommaso all have bigger voices than their Staatsoper counterparts. Indeed, De Tommaso sings Pollione in the first revival of Teste’s production in May, where he will doubtless project more than the stylish, but small-voiced Juan Diego Flórez.
Both Normas were making role debuts. Much as I admire Asmik Grigorian – her acting was typically outstanding – vocally, she is not best suited to bel canto and Federica Lombardi took the laurels. Aigul Akhmetshina was the better Adalgisa (by far); the disappointing Vasilisa Berzhanskaya sounded shrill at the top – she was singing at Bellini’s original pitch, the role composed for soprano Giulia Grisi – so I was surprised to learn, since submitting my review in the early hours of Sunday morning, that the mezzo is moving into soprano repertory.
Both basses were very fine, but it was especially wonderful to hear Ildebrando D’Arcangelo in such rich form, heralding, I hope, a move into the “grand old men” bass roles.
Want to judge the clash for yourself? Sunday’s third performance from Theater an der Wien was broadcast on ARTE (available until 24th April), while those in Austria – or in possession of a VPN – can watch the Staatsoper production streamed on ORF III on 23rd March.