https://www.heraldsun.com.au/entertainment/arts/helena-dix-stars-in-new-production-of-norma/news-story/c6a3e96fdb312ec818fc10e8f5c96cde
Published online in Melbourne's Herald Sun 18th September 2019
The High Priestess of the Druids who takes the title role of Bellini’s Norma is a complex sort. Norma is defiant, troubled, compassionate, venomous, forgiving and self-sacrificing. In private, she is shaken mother of two children to the enemy, Roman proconsul Pollione. Traitor to her people, Norma’s turbulent trajectory is adorned by insanely challenging and divine vocal music, often considered the most demanding role in the repertory. At Melbourne Opera, she is given tremendous presence, superbly nuanced colour and staying power in soprano Helena Dix.
Returning triumphantly to Melbourne Opera, Dix is pivotal to the success of director Suzanne Chaundy’s production. Having covered the role at New York’s Met Opera, Dix’s preparedness and capabilities are in striking evidence. Her agile and wide-ranging voice touches the text with faithfulness. Her meditatively imploring “Casta diva” is only the start of many highlights to come.
Dix is surrounded by a fine cast. The duets Dix shares with Jacqueline Dark’s sumptuously sung Adalgisa, virginal priestess in love with Pollione and who guides the spirit of compassion, are moments to melt in. A tad more tonal shading wouldn’t go astray but hefty tenor Samuel Sakker is steadfastly and solidly sung as a brutal Pollione. Expansive bass Eddie Muliaumaseali’i, as Norma’s heavy-minded father Oroveso, is an impressive cornerstone in the midst of a fervently sung chorus while conductor Raymond Lawrence leads with an acute feel for the drama. A few stray notes from the pit will need some tidying up.
Betrayal and deceit are the key drivers of Bellini’s tragedy. Tension comes in handfuls of opera storytelling’s not uncommon indecisiveness, which Chaundy resolves competently around the leading trio. Not so clearly conveyed is a concept that needs the program’s notes to be fully understood.
Starting, it feels like an abstract take on its ancient setting during the Roman occupation of Gaul. Then, assorted camouflage and semi-automatics come out and Pollione appears in WWII military uniform. Chaundy’s construct of Druidism’s 20th century revival as a neo-pagan religion might not convince but Dale Ferguson’s design is beautiful on the eye and there’s boundlessly thrilling music to savour.
Published online in Melbourne's Herald Sun 18th September 2019
The High Priestess of the Druids who takes the title role of Bellini’s Norma is a complex sort. Norma is defiant, troubled, compassionate, venomous, forgiving and self-sacrificing. In private, she is shaken mother of two children to the enemy, Roman proconsul Pollione. Traitor to her people, Norma’s turbulent trajectory is adorned by insanely challenging and divine vocal music, often considered the most demanding role in the repertory. At Melbourne Opera, she is given tremendous presence, superbly nuanced colour and staying power in soprano Helena Dix.
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| Helena Dix as Norma |
Dix is surrounded by a fine cast. The duets Dix shares with Jacqueline Dark’s sumptuously sung Adalgisa, virginal priestess in love with Pollione and who guides the spirit of compassion, are moments to melt in. A tad more tonal shading wouldn’t go astray but hefty tenor Samuel Sakker is steadfastly and solidly sung as a brutal Pollione. Expansive bass Eddie Muliaumaseali’i, as Norma’s heavy-minded father Oroveso, is an impressive cornerstone in the midst of a fervently sung chorus while conductor Raymond Lawrence leads with an acute feel for the drama. A few stray notes from the pit will need some tidying up.
 |
| Eddie Muliaumaseali’i as Oroveso, Samuel Sakker as Pollione and Helena Dix as Norma |
Starting, it feels like an abstract take on its ancient setting during the Roman occupation of Gaul. Then, assorted camouflage and semi-automatics come out and Pollione appears in WWII military uniform. Chaundy’s construct of Druidism’s 20th century revival as a neo-pagan religion might not convince but Dale Ferguson’s design is beautiful on the eye and there’s boundlessly thrilling music to savour.
Norma
Melbourne Opera
Athenaeum Theatre
Until 24th September, 2019
4 stars
Production Photos: Robin Halls
Melbourne Opera
Athenaeum Theatre
Until 24th September, 2019
4 stars
Production Photos: Robin Halls
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