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NORMA RETURNS: 'IT'S LIKE BELLINI'S IN THE ROOM'
by Marsha Lederman
The Globe & Mail
Nov 27 2009
Canada
Richard Bonynge, who conducted a landmark Norma for the Vancouver Opera
in 1963, returns for a new Norma to launch the VO's 50th-anniversary
season
.Richard Bonynge has been here before - at the Queen Elizabeth
Theatre, on the podium, conducting the orchestra for a Vancouver
Opera production of Bellini's Norma . The first time was in 1963,
when Bonynge conducted a production that became legendary - and a
turning point in the company's young history. Tonight, he's back at
the just-renovated Queen Elizabeth Theatre for a new Norma that will
launch the company's 50th-anniversary season and provide the first
test of the venue's natural acoustics.
That 1963 production was the start of something huge for Bonynge. It
was his first Norma. Since then, the 79-year-old has conducted more
than 100 performances of the difficult opera, for which he has become
renowned.
"It's like Bellini's in the room," says James Wright, the VO's general
director, who went after Bonynge for this event not only because of his
skill, but because he feels Bonynge personifies the Vancouver Opera's
history, as does Norma . Wright wanted to begin this all-important
season (it is, after all, Olympic season as well) with an opera that
would pay tribute to the VO's past. And Norma was the obvious choice.
"Norma is our homage to Irving [Guttman, founding artistic director
of the Vancouver Opera] ... to the early years and that pivotal,
pivotal production," says Wright. "And having Bonynge return to
conduct this ...
just made a lot of sense. And I finally decided to take a deep breath
and produce Norma myself."
It was Guttman's vision - and tenacity - that led to that milestone
production in 1963. He wanted to bring in Joan Sutherland -
Bonynge's wife - for the title role, but faced a fight with his board
members, who balked at Sutherland's fee of $3,000 for each of five
performances. Guttman held his ground, and got Sutherland and Bonynge -
as well as the great Marilyn Horne for the role of Adalgisa.
The result, he remembers, was thrilling. Sutherland and Horne
sounded magnificent together, night after night. "There's not enough
superlatives for that kind of thing," Guttman says. "My God, it
was magic."
In Norma , the Roman consul Pollione abandons Norma, the mother of
his two sons, in favour of Adalgisa, an acolyte. The role of Norma
is considered one of the most demanding in the soprano repertoire; a
"super-human role," Bonynge calls it. Consider the placement of the
popular aria Casta Diva , so early on - leaving little time to warm up.
Sutherland's first attempt at the role was in that 1963 production -
chosen by her and her husband because Vancouver was considered a little
out of the way, and off the opera radar. "She felt that it would be a
great place to try Norma out," says Bonynge. "And of course it ended
up as much more than a tryout." Sutherland, dubbed "La Stupenda,"
went on to perform the role on many other stages to great acclaim,
and is featured on several recordings. Now 83, she has long since
retired and was too ill to make the trip with her husband to Vancouver
from their home in the Swiss Alps.
Bonynge's history with the VO didn't end with Norma , of course. In
1974, he became artistic director of the company and, in 1977, founded
the Vancouver Opera Orchestra. "I'm thrilled that they're still in
existence because it was the orchestra which we started ... and to
find them in such a fantastic shape is a great thrill," Bonynge says.
He is also impressed, he says, with the cast for this production.
Armenian soprano Hasmik Papian is one of the world's most in-demand
Normas at the moment. Kate Aldrich makes her VO debut in the role of
Adalgisa. And Victoria native Richard Margison sings Pollione.
Tonight marks the first non-amplified music event at the Queen
Elizabeth Theatre since its $48.5-million, four-phase renovation,
so the acousticians (and others) will be listening carefully -
and nervously.
Though expectations - acoustically, musically and nostalgically -
are high, Bonynge himself will have a steady hand. He's happy with
the cast and orchestra, and is certainly familiar with the material.
"I'm too old to be nervous," says the Maestro. "I've been at it for
a long, long time."
Norma runs at Vancouver's Queen Elizabeth Theatre from tonight to Dec.
5 (vancouveropera.ca ).
by Marsha Lederman
The Globe & Mail
Nov 27 2009
Canada
Richard Bonynge, who conducted a landmark Norma for the Vancouver Opera
in 1963, returns for a new Norma to launch the VO's 50th-anniversary
season
.Richard Bonynge has been here before - at the Queen Elizabeth
Theatre, on the podium, conducting the orchestra for a Vancouver
Opera production of Bellini's Norma . The first time was in 1963,
when Bonynge conducted a production that became legendary - and a
turning point in the company's young history. Tonight, he's back at
the just-renovated Queen Elizabeth Theatre for a new Norma that will
launch the company's 50th-anniversary season and provide the first
test of the venue's natural acoustics.
That 1963 production was the start of something huge for Bonynge. It
was his first Norma. Since then, the 79-year-old has conducted more
than 100 performances of the difficult opera, for which he has become
renowned.
"It's like Bellini's in the room," says James Wright, the VO's general
director, who went after Bonynge for this event not only because of his
skill, but because he feels Bonynge personifies the Vancouver Opera's
history, as does Norma . Wright wanted to begin this all-important
season (it is, after all, Olympic season as well) with an opera that
would pay tribute to the VO's past. And Norma was the obvious choice.
"Norma is our homage to Irving [Guttman, founding artistic director
of the Vancouver Opera] ... to the early years and that pivotal,
pivotal production," says Wright. "And having Bonynge return to
conduct this ...
just made a lot of sense. And I finally decided to take a deep breath
and produce Norma myself."
It was Guttman's vision - and tenacity - that led to that milestone
production in 1963. He wanted to bring in Joan Sutherland -
Bonynge's wife - for the title role, but faced a fight with his board
members, who balked at Sutherland's fee of $3,000 for each of five
performances. Guttman held his ground, and got Sutherland and Bonynge -
as well as the great Marilyn Horne for the role of Adalgisa.
The result, he remembers, was thrilling. Sutherland and Horne
sounded magnificent together, night after night. "There's not enough
superlatives for that kind of thing," Guttman says. "My God, it
was magic."
In Norma , the Roman consul Pollione abandons Norma, the mother of
his two sons, in favour of Adalgisa, an acolyte. The role of Norma
is considered one of the most demanding in the soprano repertoire; a
"super-human role," Bonynge calls it. Consider the placement of the
popular aria Casta Diva , so early on - leaving little time to warm up.
Sutherland's first attempt at the role was in that 1963 production -
chosen by her and her husband because Vancouver was considered a little
out of the way, and off the opera radar. "She felt that it would be a
great place to try Norma out," says Bonynge. "And of course it ended
up as much more than a tryout." Sutherland, dubbed "La Stupenda,"
went on to perform the role on many other stages to great acclaim,
and is featured on several recordings. Now 83, she has long since
retired and was too ill to make the trip with her husband to Vancouver
from their home in the Swiss Alps.
Bonynge's history with the VO didn't end with Norma , of course. In
1974, he became artistic director of the company and, in 1977, founded
the Vancouver Opera Orchestra. "I'm thrilled that they're still in
existence because it was the orchestra which we started ... and to
find them in such a fantastic shape is a great thrill," Bonynge says.
He is also impressed, he says, with the cast for this production.
Armenian soprano Hasmik Papian is one of the world's most in-demand
Normas at the moment. Kate Aldrich makes her VO debut in the role of
Adalgisa. And Victoria native Richard Margison sings Pollione.
Tonight marks the first non-amplified music event at the Queen
Elizabeth Theatre since its $48.5-million, four-phase renovation,
so the acousticians (and others) will be listening carefully -
and nervously.
Though expectations - acoustically, musically and nostalgically -
are high, Bonynge himself will have a steady hand. He's happy with
the cast and orchestra, and is certainly familiar with the material.
"I'm too old to be nervous," says the Maestro. "I've been at it for
a long, long time."
Norma runs at Vancouver's Queen Elizabeth Theatre from tonight to Dec.
5 (vancouveropera.ca ).