The San Francisco Opera's 92nd season opened last Friday in typically grand fashion with a new production of Vincenzo Bellini's bel canto masterpiece "Norma." The striking and unfussy staging by director Kevin Newbury is handsomely designed by David Korins, with attractive costumes by Jessica Jahn and appropriate lighting by D.M. Wood, who both make strong SFO debuts. But regardless of the impressive physical look of the opera and, on this occasion, the sheer fabulosity of the before and after parties on opening night, Bellini's bel canto literally means "beautiful singing," and it is ultimately up to the divas onstage to deliver the goods.
Legendary tenor Enrico Caruso is reported to have said that a successful performance of Verdi's "Il Trovatore" only needs the four greatest singers in the world. One might say of "Norma" that a really satisfying presentation only takes three -- and maybe just two, if the soprano singing the title role and the mezzo playing her rival are strong enough to cover for a weak tenor. Expectations have run high for the appearance of Illinois soprano Sondra Radvanovsky as the tortured Druid priestess torn by forbidden love for the Roman proconsul Pollione and the two children he has sired with her; and by her blind fury with Druid novice Adalgisa, who has unwittingly stolen his love.
Sound confusing? It is actually nowhere near as messy or bizarre as "Il Trovatore," and really it's just a plain and simple excuse for long meditative arias, tricky cabalettas and duets that run the gamut of human emotions. There are also some stately choruses and remarkable stretches of fine orchestral writing in the score. The former are sung with somber authority by Ian Robertson's sonorous SFO choir, and the latter are elegantly if somewhat ponderously conducted by Music Director Nicola Luisotti.
So Radvanovsky has been provided good support from the very get-go, and for most of the long evening she flourished as anticipated, using the distinctive depth and darkness of her voice to full effect. She triumphed by smartly relying on her subtle acting skills to make her portrayal most compelling. Sounding at times like the great Maria Callas, she possesses the same kind of tone and ability to float a haunting phrase. Unfortunately, she also shares some of La Divina's problems with coloratura and vibrato, and more than once she sounded breathless and rough, falling faintly shy of the crowning note. It wasn't terribly troubling, considering Radvanovsky's familiarity with the role, and she should grow more comfortable as the run progresses. We know the opening-night crowd uncritically and enthusiastically applauded her interpretation, and any personal disappointment stemmed mainly from reading possibly overheated rave reviews of her inaugural American performances as Norma at the Met.
Second in the line-up came mezzo-soprano Jamie Barton, making her SFO debut as the luckless priestess-in-waiting Adalgisa, callously seduced by her lover and unfairly condemned by his wife. Stepping in for Daveda Karanas for all scheduled performances, Barton reminded me favorably of another Golden Age singer and personal favorite, Marilyn Horne. Her acting was perhaps not as intense as Radvanovsky's, but her vocal line is rich and free of excessive vibrato. The pure simplicity of her expression made her a lovely foil in her duets with Norma.
The Pollione (hiss, boo, Roman villain!) of tenor Marco Berti struggled through some patches of uncertain pitch, but he turned out to be a more convincing actor than I remember, and his bright tone matched well with Barton in their extended duet. He will also undoubtedly grow in strength after the nerve-wracking demands of opening night. Ironically, Berti and Radvanovsky are veterans of the SFO Il Trovatore that marked Nicola Luisotti's first assignment as SFO Music Director.
Worthy of favorable mention, bass-baritone Christian Van Horn made an impressive physical and vocal impact in the role of Chief Druid Oroveso (Norma's father). Tenor A.J. Gluckert (a second-year Adler Fellow) was another bright spot as Pollione's Roman centurion friend Flavio, and another Adler Fellow (first-year), soprano Jacqueline Piccolino, proved convincing as Norma's confidante (and seeming nanny in this production) Clotilde.
Bellini's gorgeous melodies (think of "Casta diva" or "Mira, o Norma," for starters) and his superb symphonic orchestration will resound throughout the War Memorial Opera House until the end of September. Once you hear them in a good performance, they are almost impossible to forget.
Tickets & info: sfopera.com