By Benedicte Dansie
At first, the stage of Abravanel Hall in Salt Lake City, Utah seems unassuming, especially considering that Norma, Vincenzo Bellini’s grand operatic masterpiece, is about to begin on it. The stage is almost completely filled by the Utah Symphony and the Utah Opera Chorus. A stage extension has been added to the front, giving the performers a few extra feet to work with. Draped across this extension is a huge expanse of fabric, and three small sprigs of mistletoe attached to the conductor’s stand, which act as the only decorations. However, once the show starts, the audience realizes that the simplicity of the stage serves to highlight the absolutely miraculous vocal performance by The Utah Opera. The first thing one notices upon the start of the performance, besides the soaring strains of the Symphony under the direction of Stephen Lord, is the cinematic aspect of the show. Greg Emetaz (Video Design) has done a marvelous job of creating an entire forested world with the limited and difficult design of the space by projecting stunning film and pictures into the shell of the stage, which sweep the audience into Norma’s (Marjorie Owens) world of druids, demanding gods, and all-consuming love.
This 1831 opera, with the libretto by Felice Romani, is set in Gaul and tells the story of an affair between the Roamn proconsul Pollione (Jonathan Burton), High Priestess Norma, and Adalgisa (Annie Rosen) during a Gallic uprising. When Norma discovers that the father of her children is in love with another woman, she confesses the affair publicly and suffers the consequences. Norma is a Bel Canto, which means it not only focuses on the vocals, but challenges the vocalists by pushing them to perform in a way that takes everything they have.
Marjorie Owens is truly breathtaking as Norma, sweeping into effortless trills and soaring between ringing heights and low moments of articulation. Norma is brought to life with the perfect mix of passion and duty, showing the strength and complexity she deserves.
As Adalgisa, Rosen joins Owens in several duets that are comprised of perfectly-timed and -harmonized runs and trills that leave the audience with chills as they blaze across the stage, taking control fo their destinies. The absolute perfection of their two voices is a spiritual experience. Rosen plays the sweet, innocent Adalgisa with a devoted friendship and heart-breaking kindness.
Burton makes it entirely too easy to hate the pompous and overbearing Pollione by playing him up as a manipulative cheater. The audience even expressed disgust when he succeeded in wooing Adalgisa. His spectacular voice pierces through each scene, fighting to make Burton the center of attention.
Adam Lau‘s (Oroveso) gorgeous bass voice lends regal command to his role as leader of the druids. He shows the turmoil and absolute heartache of attempting to balance his position as both a father and political leader perfectly. Whether running on the concrete ground, gravel or other complex terrain, they can generic viagra line browse around for more now be controlled easily. These viagra without prescription usa capsules allow blood to reach the penis and improve the erection of the penis. If you go to purchase the medicine from online stores, online generic viagra you will get it cheaper than the local pharmacies as they are safe and result oriented. It can increase the immunity of the body and it also cute-n-tiny.com buy levitra from india increases heat in the joint and surrounding tissue.
Melanie Ashkar (Clothilde) and Addison Marlor (Flavio) work together flawlessly as the safeguards of their friends and leaders secrets. In defending Norma’s honor and protecting Norma’s children, Ashkar really adds a powerful female support . Marlor’s character, Flavio, works to support Pollione, trying to make him see reason and escape on several occasions.
The technical design is amazing, as Stage Director Crystal Manich uses the visual elements to emphasize certain moments as they alternate between the full effect of the ensemble and more intimate interactions between characters. This effect is highlighted by Tláloc López-Watermann (Lighting Design), who works at spotlighting specific characters and moments so those soloists are seemingly the only people in the world. The costuming done by Brandon McDonald, with Wigs and Make-up Design by Kate Casalino, is truly decadent. McDonald is an internationally-renowned dancer and winner of Project Runway‘s twelfth season, The costumes feature a wide spectrum of textures and colors that showcase both the character’s personalities and allegiances. The passionate and brash Romans are dressed in bold shades of red, which are in a direct contrast with the earthen tones of the nomads. The women’s gowns are as lush and resplendent as modern red carpet fashion. Norma’s gown in particular features a fifty-foot-long cape that had to be constructed over a three-week period because of the amount of material. The attention to detail and overall artistic lushness just pushes the performance to the next level.
The Utah Opera presenting Bellini’s Norma is truly one of the most spectacular productions ever staged. While the show does run quite long at almost three hours, every second is entrancing. The overall magnificence of the combined musical and artistic elements really set this show apart. The run for this show is extremely short, with only one performance left, so call for tickets as soon as possible. Norma is a show of love, sisterhood, strength, and devotion that pulls at one’s heartstrings and leaves the audience with a poignant message of solidarity.
The Utah Opera Presents Bellini’s Norma; Music by Vincenzo Bellini, Libretto by Felice Romani.
Abravanel Hall, 123 W South Temple, Salt Lake City, UT 84101
May 4, 6 2019 7:30 PM
Tickets: $15-108 https://my.usuo.org/single/SYOS.aspx?p=20217&_ga=2.246600845.827314490.1557075856-719237497.1537597578
Contact: 801-533-6683
Utah Opera Facebook Page: https://www.facebook.com/utahopera/
Norma Facebook Event Page: https://www.facebook.com/events/1734500863314765/
At the request of the Utah Opera: Individuals ages five and older are welcome at this performance. Parents should ensure their children are able to sit quietly through the performance without disturbing others around them. No babes in arms will be admitted.
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