Italian opera star Cecilia Bartoli helps the work to gleam anew.
Bellini's Norma is an extraordinary piece. A high point in the bel canto tradition, the 1831 opera is as important in the historical trajectory of its century as the seemingly weightier creations of Beethoven and Wagner.
Politically, Bellini's Druidess is a sister to Beethoven's Leonore, driven to an even greater
sacrifice, in times of Roman oppression.
Too long considered soprano territory, mezzo Cecilia Bartoli has moved in and recorded it, using the new authoritative edition. Treated with such respect, Bellini's music gleams anew.
As with other Bartoli productions, Norma stands out on the shelf; it is a book rather than a mere CD, handsomely bound, 1.5cm in width. Inside, the diva's own essay, "A Norm for Norma?", puts the opera in the context of almost two centuries of performance.
The first thing you hear is the Orchestra La Scintilla under Giovanni Antonini and, after a few chords, there is no switching off. They deliver the music with knife-edge dynamics and a rhythmic virtuosity that runs from the gorgeously pliant to marches that will have you doing your own drill parade in the lounge.
