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NORMA Vincenzo BELLINI OTSAILAK 7/9 FEBRERO LÍRICA 20:00 / 19:00 NORMA VINCENZO BELLINI TEMPORADA 19|20 DENBORALDIA NORMA VINCENZO BELLINI Tragedia lírica en dos actos con música de Vincenzo Bellini (1801-1835) y libreto en italiano de Felice Romani basado en la tragedia Norma, ou L’infanticide de Alexandre Soumet. Estrenada en La Scala de Milán el 26 de diciembre de 1831. Francesca Sassu: Norma Director musical: José Miguel Pérez-Sierra Sergio Escobar: Pollione Director de escena y vestuario: Susana Cordón: Adalgisa Mario Pontiggia Simón Orfila: Oroveso Diseño de escenografía: Antonella Conte Itsaso Loinaz Ezcaray: Clotilde Diseño de iluminación: Txema Fernández Julio Morales: Flavio Realización de iluminación: Tinguaro Vega Pablo Moneo y Marcos Lizaso: Asistente de dirección: Angelica Dettori Agénor y Clodomir Figurinista colaborador: Claudio Martín Figuración: Miguel Á. Alcantara, Íñigo Producción ejecutiva: Afton Beattie Azpilicueta, Adrián Cerezo, Daniel Cerezo, Regidora: Nieves Garcimartín Javier Ilarregui, Nicolás Olmedo Maestro repetidor: Pedro José Rodríguez Sobretítulos: Izaskun Zurutuza Orquesta Sinfónica de Navarra Coro Lírico de la Asociación Gayarre Amigos de la Ópera (AGAO) Una producción de Los Amigos Canarios Director: Íñigo Casalí de la Ópera TEMPORADA LÍRICA DE FUNDACIÓN BALUARTE CON EL EN COLABORACIÓN CON LA ASOCIACIÓN GAYARRE apoyo DE AMIGOS DE LA ÓPERA DE navarra (AGAO) Duración aproximada: Acto I: 90 min. | Descanso | Acto II: 65 min. TEMPORADA 19|20 DENBORALDIA 3 Sinopsis ARGUMENTO Entra Adalgisa e invoca la protección de los dioses. Aparece Pollione y la corteja; Adalgisa La acción transcurre en las Galias durante la duda al principio pero finalmente declara que ocupación romana. En los antecedentes de ella también ama al oficial romano. los hechos, la sacerdotisa Norma, hija del jefe druida Oroveso, ha sido seducida por Pollio- Norma, en su casa con sus hijos, revela sus con- ne, procónsul romano de las Galias y de esta fusos y dolorosos sentimientos, y pide a Clotilde, unión han nacido dos niños, Agénor y Clodo- su confidente, que esconda a los niños cuando mir, a quienes Norma oculta con la ayuda de llegue Adalgisa. La confesión de Adalgisa, en la su confidente Clotilde. que revela que ha faltado al voto de castidad, despierta la comprensión de Norma, consciente de su propio pasado. Cuando Norma pregunta el ACTO I nombre del amante y Adalgisa dice: “Aquí llega”, señalando a Pollione que se acerca, la decepción Hasta el roble sagrado llega en procesión el de las dos mujeres estalla apasionadamente. pueblo galo a cuyo frente viene su jefe, Orove- Finalmente se escucha a lo lejos el sonido del so, padre de Norma. Todos piden a los dioses escudo sagrado que convoca a Norma para que que les conceda la victoria sobre los romanos hable a su pueblo y a las voces de los tres solistas En el bosque de los druidas, Oroveso reúne a Norma está ahora junto a Pollione, quien re- y su retirada del país. Entran Pollione y Flavio, se añade el coro lejano de los druidas. sus hombres y deciden llevar a cabo una guerra chaza la súplica de la mujer de que abandone oficiales romanos. Pollione, que ha mantenido silenciosa para acabar con el invasor. a Adalgisa; entonces Norma jura que la joven relaciones ilícitas con Norma, gran sacerdotisa será quemada viva por haber quebrantado sus druida, y con la que ha tenido dos hijos, dice ACTO II Norma es informada por Clotilde que Adalgisa votos. El pueblo recibe la orden de preparar que ahora ama a una joven virgen del templo, quiere renovar sus votos como sacerdotisa en el la pira pero cuando preguntan a Norma el Adalgisa, y presiente la venganza de Norma. Norma contempla a sus hijos dormidos y sa- templo pero que Pollione ha jurado arrancarla nombre de la sacerdotisa culpable, responde: biéndose traicionada decide acabar con su vida del altar. Norma hace sonar entonces, por tres “Yo”. El pueblo no quiere creerla pero Norma Se retiran los romanos y regresan los druidas. para que no sufran el cautiverio romano. Pero veces, el escudo sagrado y los druidas al oírlo, insiste. Cuando traen a los niños, Norma pide Dan la bienvenida a Norma, quien anuncia no se decide a hacerlo y envía a Clotilde en vienen a escucharla cantando un himno guerre- a Pollione que cuide de ellos; pero Pollione no proféticamente la caída de Roma. Después, busca de Adalgisa, a la que muestra los niños y ro. Clotilde llega presurosa con la noticia de que se mueve. Lleno de angustia, el pueblo prepa- corta una rama del muérdago sagrado y dirige pide que se los lleve con ella cuando se marche un romano que intentaba penetrar en el templo ra el sacrificio de Norma. Arrepentido de su su plegaria a la Luna Casta diva, acompañada a Roma con Pollione. Adalgisa ruega a Norma ha sido hecho prisionero. Se trata de Pollione. comportamiento y admirado por el valor y el por Oroveso y el pueblo. En un aparte, expresa que siga viviendo para sus hijos y le dice que va Norma toma una daga e intenta darle muerte, amor de Norma, Pollione marcha con ella a el amor que sigue sintiendo por Pollione. a rogar a Pollione que vuelva con ella. aunque no es capaz de descargar el golpe. morir en la hoguera. 4 FUNDACIÓN BALUARTE FUNDAZIOA TEMPORADA 19|20 DENBORALDIA 5 Norma, honor y martirio COSME MARINA n la Europa operística en la que Vin- ciudades que marcaban, y marcan, el pulso de cenzo Bellini (1801-1835) desarrolló la ópera: París y Milán. Precisamente la Scala, E su carrera como compositor, un férreo el histórico teatro milanés es quien le encarga sistema industrial obligaba a los compositores para estrenar a finales de diciembre de 1831 a un trabajo continuo y apresurado con el fin un nuevo título para el que podría contar de mantener fluida la constante avidez de con grandes solistas, entre ellos la soprano estrenos de las temporadas en las que, a lo Giuditta Pasta, la mezzo Giulia Grisi y el tenor largo del año, se articulaba la actividad teatral. Domenico Donzelli. El proceso creativo tenía La exigencia era tremenda y la entenderemos unas líneas marcadas y muy claras: los com- adecuadamente si la comparamos con el sis- positores escribían pensando en cantantes tema de producción actual del cine, o incluso determinados para cada rol y adaptaban a de las series de televisión, que necesitan de sus particulares características la exigencia de manera constante mostrar nuevos títulos para cada uno de ellos; de ahí que contar con Giu- mantener el interés de los potenciales espec- ditta Pasta resultase esencial tanto para Bellini tadores. Era aquel un mundo muy diferente al como para su libretista, Felice Romani, porque nuestro que, en el caso de la ópera, vive ahora en ella se aunaban el virtuosismo en el canto de la reiteración de unas decenas de obras con la excelencia interpretativa. El trabajo maestras que han pasado al repertorio y en el entre ambos creadores fue intenso y propició que los estrenos son muy escasos. cambios y debates ante un argumento que se inspira en Norma ou l’infanticide de Soumet Una de esas grandes obras maestras que, por pero que se acabó perfilando con diferentes derecho propio, se mantiene como una de las referencias a Les martyrs ou le Triomphe de la que mayor expectación genera es, sin duda la religion chrétienne de Chateubriand o la Medea Norma belliniana. Título que nos sigue inter- de Eurípides. Además, desde el punto de vista pelando con el mismo fervor casi doscientos musical, Bellini incorpora en Norma noveda- años después de su primera audición. des de gran interés como la de terminar el primer acto con un trío de gran tensión dra- Pese a su temprana muerte a los treinta y tres mática frente a otras fórmulas más extendidas años en París, Bellini se convirtió en uno de en aquel momento. los más reclamados músicos de su tiempo y, desde los primeros éxitos napolitanos, su La propia Pasta fue consciente en los ensayos carrera alcanzó el cénit en dos de las grandes de la excepcionalidad del rol titular y no se 6 FUNDACIÓN BALUARTE FUNDAZIOA Norma, ohorea eta nekaldia COSME MARINA equivocó en su percepción. Pese a todos los cesivamente va presentando auténticos hitos i ncenzo Bellinik (1801-1835) bere pultsua markatzen zuten, eta markatzen du- buenos augurios previos, el éxito no fue el pro- musicales que tendrían enorme influencia en musikagile-ibilbidea garatu zuen ten, hiri handietako bitan: Parisen eta Mi- tagonista de la noche de estreno y el público otros compositores posteriores. V Europa operistikoan, industria-sis- lanen. Hain zuzen, Scalak, Milango antzoki milanés no reaccionó con entusiasmo. Para ha- tema gogor batek etengabeko eta presako historikoak, 1831ko abenduaren amaieran cernos una idea de las condiciones de trabajo La melodía belliniana que inunda el discurso lan batera behartzen zituen musikagileak, izenburu berri bat estreinatzeko agindua de la época, los cantantes llegaron al estreno musical de la obra tiene pasajes de una calma antzerki-jarduera urtean zehar antolatzen eman zion, eta hartarako bakarlari handiak muy cansados porque la misma mañana del absoluta, casi inmóvil, que alternan con otros zen denboraldietako estreinaldien gogo bizi edukitzeko aukera izan zuen, haien artean día inaugural tuvieron que ensayar el acto se- de gran tensión y como piedra angular emerge etengabea arin mantentzeko helburuarekin. Giuditta Pasta sopranoa, Giulia Grissi mezzo- gundo completo. Esa presión pasó factura y la la figura de la protagonista, Norma, personaje Eskakizuna izugarria zen, eta ezin hobeto sopranoa eta Domenico Donzelli tenorra. Sor- ópera no cogió vuelo hasta la segunda función de soberbia talla dramática en torno al cual ulertuko dugu zinemaren edo baita telesailen kuntza-prozesuak ildo markatuak eta oso ar- en la que, además, ya no estaban en el teatro pivotan el resto de los roles que configuran egungo ekoizpen-sistemarekin alderatzen giak zituen: rol bakoitzerako abeslari jakinak las típicas facciones que algunos compositores la historia.
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