FROM MYTH TO OPERA

It was common practice for composers and librettists to be inspired by myths, plays and poems, both historical and contemporary. Norma’s roots can be traced as far back as the Greek myth of Medea—a story Bellini’s librettist, Felice Romani, had already adapted into opera for another composer. Medea was a moon goddess who bore two sons for the enemy of the Greeks, Jason, and then murdered them after he fell in love with another woman. Romani wrote many libretti based on tragic and melodramatic French plays that were inspired by ancient religious stories. In fact, Romani was an antiquities scholar prior to being a librettist. He published a six volume dictionary on mythologies across the globe, including ancient Celtic lure. In it, he describes Druids and their rituals.

For composer Giovanni Pacini, Romani adapted La Sacerdotessa di’Irminsul (The Priestess of Irminsul) in 1821. This version of the “Norma story” was set in 8th century Saxony, Germany, when King Charlemagne destroyed all remaining Druidic structures. In this version, a pagan priestess falls for an enemy soldier in Charlemagne’s army. However, the priestess converts to Christianity and marries the general.

The French composer, Chateaubriand, drew upon the possible historical figure Velleda, for his 1809 opera Les Martyrs. The Roman historian, Tacitus, described Velleda as a “hermit prophetess” who supported the opposition against the Romans. Chateaubriand’s opera opens with a chorus of Druid commonfolk cutting mistletoe and waiting for Velleda.

Even with these versions in his mind, Felice Romani attributes his inspiration to the French epic poem Norma, ou L’infanticide by Alexandre Soumet. Keeping most of Soumet’s original story and characters, Romani removed any references to

Painting of Medea and her children she murdered, Hernandez Amores, 1887.

Depiction of Norma telling Adalgisa to go to Pollione and demand he return to her, Victrola Book of Opera, 1917.

Felice Romani (1788-1865) wrote about 90 libretti in his lifetime. His plots were considered well-structured, and his text exceptionally suited to be set to music, leading him to become one of the most sought after Italian librettists of his time. His status was confirmed in 1830, when collaborations with Donizetti (Anna Bolena) and Bellini (La sonnambula) were performed at the Milan carnival, a large yearly festival. Many of his libretti were so popular, they were set to music by more than one composer. Bellini and Romani parted ways over creative differences in the creation of Beatrice di Tenda (1833), as composer accused librettist of making it too similar to his rival, Donizetti’s opera.

Christianity and changed the time period to 50 B.C. Original to Romani’s libretto for Bellini is the romantically-charged surprise suicide ending.

Norma opened at La Scala in Milan on December 26th, 1831. Bellini, then 30-years old was already a well-known composer. In spite of the epic story and beautiful score, the Milanese public were slow to accept Norma at La Scala. It was received with mixed reviews, in part due to the intense rivalries between contemporary composers, -Pacini had premiered an opera with libretto by Romani and a similar story just a decade before. After charging a very high fee and being a little more unconventional than he had with his previous operas, Bellini wrote “Fiasco, fiasco, a solemn fiasco!...It has consigned my poor Norma to the doom of the Druidess herself.” He noted how the singers sounded tired, possibly as they had rehearsed the show the afternoon before it opened. However, just two days later, Bellini enjoyed full-houses and beloved reception. The opera grew in favor and soon Norma came to be known as the height of bel canto masterfully fusing beautiful singing and dramatic tension.

Felice Romani, artist and date unknown.

Poster for the premiere of Norma, 1831.