In the history of Italian opera, the date of Bellini's first opera performance is the same major event as the premiere of the operas by Rossini, Verdi, and Puccini. The production of "Norma" marked a powerful appeal to the unity of Italy. This opera is considered the most successful and famous opera of the Italian master. Its drama strikes with the depth and realism.
Precisely, the opera Norma is a work of a powerful tragic strength and purity of style. The music represents "the highest civil subjects, ethical dignity, and dramatic expression" (Fisher 32). Most things related to military operations are accompanied by music of the heroic and militant character. The central idea of the opera is "a call to overthrow the government invaders" (Fisher 10). The image of Norma is one of the most sublime and heroic in the world opera literature. The struggle of conflicting emotions, i.e. love, jealousy, revenge, and hatred, are highly emphasized with the help of the sound. Duty and loyalty to the native land gain a victory. Undoubtedly, the most tragic moment in the opera is its conclusion when the druids plan an uprising against the oppressors and wait for a signal by the high priestess Norma (Fisher 39). A sense of duty struggles with her love to Roman commander Pollione, the father of her children. However, Pollione ceased to love Norma in favor of passionate young priestess Adalgisa. Norma signs to the revolt. Pollione is arrested and then he faces death. Nevertheless, Norma saves him at the last moment, revealing the fault (violation of the vow of virginity), and goes up to the fire. Shocked by her actions, Pollione follows her to death. According to Fisher, the staging of Bellini's opera was often accompanied by a storm of patriotic demonstrations in Italy (71). The reason is that spectators noticed a current political sense in it, which contributed to its success subsequently. For example, Norma depicts a drama of "an uprising of Gallic druids' oppressed tribe" (Fisher 14). Such patriotic scenes were sufficient to ignite a revolutionary-minded Italian public. However, the music differs from other Bellini's operas with its romantic elation and pathos. The composer introduces the distinctive intonations that correspond to the heroic scenes' emotional content. The massive choral scenes with a warlike nature are presented in the declamatory style, which is typical for the Italian liberation songs. Marching rhythms and sharp "dotted" turnovers give the music a stern, strong-willed character. For instance, these are the warlike chorus from the third act of the opera Norma and the scene calls for insurrection. The opera abounds in the graceful lyricism and romantic reverie. Thus, lyricism is expressed in a melodic originality of music. Undoubtedly, the origins of this lie "in the melodies of Italian folk songs" (Fisher 9). Yet according to Stove, these melodies represent "a new kind of tenderness, melancholy, and elegy" (167). According to Gossett, tonality of the certain music scenes of Norma has "much in common with Chopin's piano themes" (125). They are linked not only by means of the lyrical sadness but also by many common expressive techniques. However, a broad cantilena is typical here as it "contrasts a harmonically distant background" (Stove 169). Vocal rhythm of the opera is exceptionally smooth and flexible; "grace-notes are organically included in the melodic substance" (Gossett 128). Orchestral episodes are harmoniously combined with the protagonists' actions. Covered with romantic flair, great choral scenes "attract the viewer's attention using the dramatic recitatives" (Stove 170). Bellini sought to saturate the Italian opera with a great drama by means of the various musical and vocal techniques.
Works Cited
Fisher, Burton D. Bellini's Norma: Opera Journeys Mini Guide Series. Miami, FL, USA: Opera Journeys Publishing, 2001. ProQuest ebrary. Web. 29 January 2016.
Gossett, Philip. Divas and Scholars: Performing Italian Opera. Chicago, IL, USA: University of Chicago Press, 2006. ProQuest ebrary. Web. 29 January 2016.
Stove, R. J. Guides to the Major Disciplines: Student's Guide to Music History. Wilmington, DE, USA: ISI Books, 2008. ProQuest ebrary. Web. 29 January 2016.
