Bellini’s Norma is one of the great operas; it is far more than just ‘Casta Diva’. And those UK readers who attended Chelsea Opera Group’s presentation of the same composer’s La Straniera in June this year (review) will have had just a little edge in appreciating Bellini’s genius.
This Norma was effectively a concert performance, or perhaps hemidemisemi-staged: lighting changed colour regularly, largely in congruence with the action, and the space between stage and audience was used several times. Act 2 bought a huge gong, placed centrally, behind the conductor.
This ‘tragic opera in two acts’ presents an almost insurmountable challenge for the main character: the demands of the role are huge, and the singer who takes on Norma needs to be essentially tireless. Step forward Sonya Yoncheva, in fine if not top form. Yoncheva sang Norma at Covent Garden in 2016; Anna Netrebko was originally slated for the role, but cancelled. Perhaps the extra frisson aided her performance; in Gstaad, for all of her presence, there was the odd unsteady moment. That said, her ‘Casta diva’ was a true highlight. A pity there was no orchestra list: the flute solo was superb, too. This was Yoncheva at the height of her powers, the music completely internalized, the vocal curlicues entirely natural; she had the vocal agility in spades for ’Ah! Bello a me ritorno,’ too. Her finest moments are pretty much peerless; certainly, Yoncheva is heading towards a great Norma.
It all begins, though, with Druid-in-Chief, Oroveso, here bass Alexander Vinogradov, initially, at least, over-vibratoed, if assertive (far finer later on). Only then do we hear the tenor lead, Pollione (the Roman proconsul in Gaul), Stefan Pop, strong and believable. ‘Meco all’altar di Venere’ set out Pop’s stall, confident, and with ringing high notes as Bellini surely intended. The late (act 2) duet, ‘In mia mon alfin tu sei’ was magical because of the equal emotive strength of Pop and Yoncheva.
It was luxury casting, surely, to have Karine Deshayes as Adalgisa (Virgin of the Temple of Irminsul). While Deshayes has previously impressed in the role of Medée (Lully Thésée) over at Paris’ Théâtre des Champs-Elysées, it was interesting to hear her in Romantic Italian repertoire. Just as successful, just as commanding, her voice was simply beautifully rounded. And Deschayes’s and Pop’s voices worked beautifully together. The same could be said of Deshayes and Yoncheva (‘Oh, rimembranza!’ and at both the onset of the second act, ‘Mi chiamo, O Norma?’ and in the nimble parallel intervals of ‘Si, fino all’ore estreme’)
The smaller roles were cast to strength, with Kristine Klein a fine Clotilde at the start of act 2 and a staunch Flavio from Marin Yonchev.
Domingo Hindoyan is no stranger to Bellini in this tent: in 2021, he presented extended highlights of I puritani here, triumphing out of adversity (both principals cancelled: Lisette Oropesa was replaced by Zuzana Marková, while Francesco Demuro took over from Javier Camerena). Marshalling the forces of the Gstaad Festival Orchestra to perfection (Hindoyan clearly has an intimate knowledge of the score), the opera’s structure was laid bare. One felt the genius of Bellini’s scoring, too: parallels can be made with Donizetti, but there is an individuality here that supports Bellini’s more lyrical vein, and textures never felt insubstantial nor unnecessarily bass-light. Colours were magnificent: the darkness at the orchestral passage prior to Norma’s ‘Ei tornerà, sì’ simply extraordinary (and Yoncheva did not disappoint at her entrance, too, thinning her voice to a lovely piano).
The superb chorus was the Chor der Bühnen Bern, a 32-strong all-professional outfit; what a difference this makes. The winner here, though, was Bellini, beyond doubt. One might miss a staging (although beware what you wish for!) but the essence of bel canto was here. Perhaps Bellini’s star is finally in the ascendent: it’ll be Bianca e Fernando next (let’s hope: Bellini’s fine opera for the inauguration of the Carlo Fenice Theatre, Genoa, 1828: do try the performance from that very theatre, but in 2021, on Dynamic DVD/Bluray). Surely we don’t need to wait until 2035 for a full-on Vincenzo-fest?
This same company performed Norma in Baden-Baden a few days later, on August 25.
Colin Clarke
Norma
Composer: Vincenzo Bellini
Libretto: Felice Romani
Cast and production staff:
Norma – Sonya Yoncheva; Oroveso – Alexander Vinogradov; Pollione – Stefan Pop; Flavio – Marin Yonchev; Adalgisa – Karine Deshayes; Clotilde – Kristine Klein
Conductor – Domingo Hindoyan; Chor der Bühnen Bern; Gstaad Festival Orchestra
Festival Tent, Gstaad, 22 August 2025
All photos © Raphael Faux