Norma (opera)

Norma
Opera by Vincenzo Bellini
Domenico Donzelli, Giuditta Pasta, and Giulia Grisi (original cast)
Librettist	Felice Romani
Language	Italian
Premiere	26 December 1831 (1831-12-26) Teatro alla Scala, Milan

Norma (Italian: [ˈnɔrma]) is a tragedia lirica or opera in two acts by Vincenzo Bellini with libretto by Felice Romani after Norma, ou L'infanticide (Norma, or The Infanticide) by Alexandre Soumet. It was first produced at La Scala in Milan on 26 December 1831.

The opera is regarded as a leading example of the bel canto genre, and the soprano prayer Casta diva in Act I is justly famous. Notable exponents of the title role in the post-war period have been Maria Callas, Joan Sutherland, Montserrat Caballé and, in the 2007 Biondi-Minasi critical edition based on Bellini's autograph score, Cecilia Bartoli.

Crivelli and Company were managing both La Scala and La Fenice in Venice, and as a result, in April–May 1830 Bellini was able to negotiate a contract with them for two operas, one at each theatre. The opera for December 1831 at La Scala became Norma and while the one for the 1832 Carnival season at La Fenice became Beatrice di Tenda.

With Bellini's La sonnambula successfully staged in March 1831 and Giuditta Pasta having demonstrated her extensive vocal and dramatic ranges in creating the role of Amina, the Swiss village maiden, she had been engaged by La Scala for her debut during the following season. Bellini and Romani then began to consider the subject of the coming autumn's opera. By the summer, they had decided to base it upon Alexandre Soumet's play which was being performed in Paris at around that time and which Pasta would have seen.

For the forthcoming autumn/winter season, La Scala had engaged Giulia Grisi, the sister of Giuditta, and the well-known tenor Domenico Donzelli, who had made a name for himself with Rossini roles, especially that of Otello. They would fill the roles of Adalgisa and Pollione. Donzelli provided Bellini with precise details of his vocal capabilities which were confirmed by a report which the Neapolitan composer Saverio Mercadante also provided. By the end of August it appears that Romani had completed a considerable amount of the libretto, enough at least to allow Bellini to begin work, which he certainly did in the first weeks of September as the verses were supplied. He reported in a letter to Pasta on 1 September: