BELLINI’S NORMA: A COMPARATIVE STUDY OF SIGNIFICANT LEADING LADIES FROM PASTA TO CALLAS ______________________________________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _________________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts _______________________________________ by MEGHAN J. WALSH Dr. Michael Budds, Thesis Advisor MAY 2016 © Copyright by Meghan J. Walsh 2016 All Rights Reserved The undersigned, appointed by the Dean of the Graduate School, have examined the thesis entitled BELLINI’S NORMA: A COMPARATIVE STUDY OF SIGNIFICANT LEADING LADIES FROM PASTA TO CALLAS Presented by Meghan J. Walsh a candidate for the degree of Master of Arts and hereby certify that in their opinion it is worthy of acceptance ________________________________________________ Professor Michael Budds _________________________________________________ Professor Judith Mabary _________________________________________________ Professor Rachel Harper _________________________________________________ Professor Steven Tharp ACKNOWLEDGMENTS This thesis would not have been completed without the support of many. First and foremost I would like to thank my thesis advisor, Dr. Michael Budds, for his guidance and encouragement throughout the course of my research and writing. He has not only been an invaluable mentor to me during the process of compiling this thesis, but also in all aspects of my academic career at the University of Missouri. Because he has challenged and inspired me every step of the way, I have improved immensely as a writer and a scholar. I would also like to express my deepest gratitude to Dr. Judith Mabary for the several hours that she devoted to the betterment of my work. In addition, her willing- ness to act as an extra sounding board for my ideas assisted greatly in shaping my final product. I have not the words to sufficiently state my appreciation for the guidance of Dr. Budds and Dr. Mabary. I also need to thank Dr. Rachel Harper and Professor Steven Tharp for serving on my thesis committee. Their consideration of and respect for my work was extremely meaningful and provided me with new perspective. Additional thanks are owed to Dr. William Lackey, Dr. Stephanie Shonekan, and Dr. Maya Gibson for their continuous interest in and encouragement of my endeavors. I must acknowledge the assistance of Dr. Kim Creek in locating several articles from The New York Times that proved to be crucial to my research. Finally, for supporting me unconditionally and for keeping me sane during this journey, I owe many thanks to the following people: my parents, Lorrie Wright and David Walsh; my brother, Daniel Walsh; my partner, Thomas Creek; and the rest of my family, as well as my friends and colleagues. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………….ii LIST OF EXAMPLES…………………………………………………………………….v LIST OF ILLUSTRATIONS……………………………………………………………..vi LIST OF TABLES……………………………………………………………………….vii ABSTRACT…………………………………………………………………………….viii CHAPTER I: INTRODUCTION AND BACKGROUND……………………………......1 Introduction Literature Survey Methodology The Historical Background of Bel Canto CHAPTER II: NEGOTIATING THE ROLE OF NORMA……………………………..25 Vincenzo Bellini and the Genesis of Norma The Character of Norma: High Priestess, Mother, and Scorned Lover CHAPTER III: GIUDITTA PASTA (1797-1865) – THE ORIGINAL NORMA………38 Background Pasta as Norma CHAPTER IV: CARRYING THE TORCH FOR PASTA – MALIBRAN, GRISI, AND TIETJENS AS NORMA…………………………………………………………………58 Overview Maria Malibran (1808-1836) Giulia Grisi (1811-1869) Thérèse Tietjens (1831-1877) iii CHAPTER V: THE WAGNERIAN AND THE VAUDEVILLE STAR – LEHMANN AND PONSELLE AS NORMA…………………………………………………………91 Overview Lilli Lehmann (1848-1929) Rosa Ponselle (1897-1981) CHAPTER VI: “LA DIVINA” – THE CALLAS PHENOMENON…………………..137 Background Callas as Norma CHAPTER VII: THE CURRENT STATE OF BEL CANTO…………………………163 Conclusion APPENDIX A: GIUDITTA PASTA AS NORMA – LIVE PERFORMANCES……...185 APPENDIX B: MARIA CALLAS AS NORMA – LIVE PERFORMANCES………..187 APPENDIX C: MARIA CALLAS AS NORMA – RECORDINGS..…………………193 BIBLIOGRAPHY………………………………………………………………………195 DISCOGRAPHY……………………………………………………………………….215 iv LIST OF EXAMPLES Example Page 2.1 “Sediziose voci,” Act 1, Scena 4, mm. 42-54……………………………………31 2.2. “Casta diva,” Act 1, Scena 4, mm. 70-77……………………………………......32 2.3. “Sola, furtiva, al tempio,” Act 1, Scena 8, m. 164……………………………….34 2.4. “Tremi tu?,” Act 1, Scena 9, mm. 17-29………………………………………...34 2.5. “Oh, non tremare, o perfido,” Act 1, Scena 9, mm. 38-46………………………34 2.6. “Mira, O Norma,” Act 2, Scena 2, mm. 121-141………………………………..36 2.7. “Non volerli vittime,” Act 2, Scena 11, mm. 131-139…………………………..37 3.1. “Oh! non tremare,” Act 1, Scena 9, mm. 17-21…………………………………56 3.2. “All’ira vostra nuova vittima io svelo,” Scena Ultima, mm. 14-23……………..56 5.1. “Einsam in trüben Tagen,” Act 1, Scene 2, mm. 61-85………………………...101 v LIST OF ILLUSTRATIONS Figure Page 3.1. “Ah! bello a me ritorna,” Act 1, Scena 4, Pasta’s fioriture……………………...50 5.1. Poster Advertising the 1837 Benefit Performance of Norma in Riga under Richard Wagner………………………………………………………………………….105 5.2. Poster Advertising Lehmann’s First Performance as Norma at the Metropolitan Opera……………………………………………………………………………111 5.3. Poster Advertising Ponselle’s First Performance as Norma at the Metropolitan Opera……………………………………………………………………………128 vi LIST OF TABLES Table Page 7.1. The First Known Norma Performances of the Seven Women in This Study…..173 vii BELLINI’S NORMA: A COMPARATIVE STUDY OF SIGNIFICANT LEADING LADIES FROM PASTA TO CALLAS Meghan J. Walsh Dr. Michael Budds, Thesis Advisor ABSTRACT In the rich tradition of bel canto opera the surviving details surrounding the performances of the leading role from Norma (1831) of Vincenzo Bellini (1801-1835) provide ample basis for a comparison of seven celebrated divas: Giuditta Pasta (1797-1865), Maria Malibran (1808-1836), Giulia Grisi (1811-1869), Thérèse Tietjens (1831-1877), Lilli Lehmann (1848-1929), Rosa Ponselle (1897-1981), and Maria Callas (1923-1977). The bel canto style is considered by many scholars and performers to be one of the most difficult to perfect, with this opera recognized as the zenith of any soprano’s repertory, and yet all seven of these women reigned as the consummate Norma in their time. This study comprises of a chronological comparison of the interpretations of each new genera- tion in order to determine if and how the role of Norma has varied over time. Many singers took on the part prior to Callas, and yet few were praised as frequently and regarded as highly as these leading ladies. Various criticisms have been brought together in this discussion in an effort to create a concrete idea of what these women would have looked and sounded like when singing Norma. The omission of certain bel canto characteristics in the renditions of the late nineteenth and early twentieth centuries supports the assertion that Maria Callas was instrumental in reviving this operatic tradition in the 1950s. viii CHAPTER I INTRODUCTION AND BACKGROUND Introduction In the rich tradition of bel canto opera the surviving details surrounding the per- formances of the leading role from Norma (1831) of Vincenzo Bellini (1801-1835) provide ample basis for a comparison of seven celebrated divas: Giuditta Pasta (1797- 1865), Maria Malibran (1808-1836), Giulia Grisi (1811-1869), Thérèse Tietjens1 (1831- 1877), Lilli Lehmann (1848-1929), Rosa Ponselle (1897-1981), and Maria Callas (1923- 1977). The bel canto style is considered by many scholars and performers to be one of the most difficult to perfect, with this opera recognized as the zenith of any soprano’s repertory, and yet all seven of these women reigned as the consummate Norma in their time. Because this opera has been performed fairly consistently from the time of its conception, it is worthwhile to examine the interpretations of each new generation and to determine if and how the role of Norma has varied over time. By comparing the perfor- mance methods of these singers as the iconic Druid priestess, answers may be provided as to why each woman was deemed superior to her contemporaries and a role model for her followers. Many singers took on the part prior to Callas, and yet few were praised as frequently and regarded as highly as these leading ladies. No such study has been done. As the creator of the role of Norma in 1831, Pasta was most attuned with the intentions of Bellini and set the standard for how it was to be performed; therefore, the descriptions of her vocal techniques and acting methods will form the measuring stick by 1 An alternative spelling of her name is “Titiens.” This occurred when she relocated to London and her English audience found it difficult to pronounce her Hungarian surname. 1 which to compare the other singers and to determine the authenticity of their interpreta- tions. Two of Pasta’s peers, Malibran and Grisi, were also prominent Normas of her generation. The next woman to find tremendous success with the role was Tietjens, the acclaimed “Queen of Song” for Her Majesty’s Theater in London.2 Even though she did not enjoy comparable levels of fame achieved by the other singers in this study, Tietjens was said to be the direct successor of Grisi.3 This designation is significant because Grisi was the original Adalgisa in the premiere of Norma. As a result, one can speculate that many of her interpretive choices in the title role were based on the precedent set by Pasta. At the end of the nineteenth century and into the twentieth three singers ensured that Norma would hold a permanent place in the repertory of the Metropolitan Opera. It was Lehmann who brought Bellini’s opera to this New York City establishment for the first time in 1890, performing it in her native German tongue.4 She reigned as one of the ideal interpreters of Wagner during her time, thereby shocking the world when she proved she could sing earlier Italian opera just as well. Ponselle was the first American opera singer to rise to international stardom; she performed as Norma at the Metropolitan Opera for the first time in 1927.