This column brought back fond memories. I was a graduate student in Georgia and knew almost nothing about opera, so long ago out of curiosity I went to hear the touring Metropolitan Opera in Atlanta. The audience gasped in horror when (Rudolf Bing)? walked on stage at the start. But, he said he only wanted to tell us that the sets had accidentally been sent to Tennessee, so they would be "sketchy." The relieved audience cheered when he said both principal singers were there. I was very impressed with the opera, especially a duet, which would later become iconic, called "Miro, o Norma." I later told my roommate, "The sets weren't much, but the singing was pretty good." I had never heard of either Joan Sutherland or Marilyn Horne. I didn't see Norma again until decades later, at the Washington National Opera. They were probably pleased when I commented later that their sets were much better than the ones I saw at the Met.
The Met production of NORMA on PBS was verismo Bellini, seemingly set in Appalachia, with a sooty faced Norma. I felt sorry for the cast as the production was at war with Bel Canto. It was better and worse than the prior NORMA at The Met. The best NORMA I ever saw was at the Paramount Theatre in Asbury Park with vocal power and simplicity that roused the audience with Anton Coppola as conductor.
I preferred Caballe to Callas. It could be I'm biased because, in the late 80's at the Wiener Staatsoper, I saw her perform a cameo role. She brought down the house!
I was transfixed by the Sutherland/Horne duet. That's definitely one for the history books! By the way, who was the conductor for the duet?
This column brought back fond memories. I was a graduate student in Georgia and knew almost nothing about opera, so long ago out of curiosity I went to hear the touring Metropolitan Opera in Atlanta. The audience gasped in horror when (Rudolf Bing)? walked on stage at the start. But, he said he only wanted to tell us that the sets had accidentally been sent to Tennessee, so they would be "sketchy." The relieved audience cheered when he said both principal singers were there. I was very impressed with the opera, especially a duet, which would later become iconic, called "Miro, o Norma." I later told my roommate, "The sets weren't much, but the singing was pretty good." I had never heard of either Joan Sutherland or Marilyn Horne. I didn't see Norma again until decades later, at the Washington National Opera. They were probably pleased when I commented later that their sets were much better than the ones I saw at the Met.
Thank you
The Met production of NORMA on PBS was verismo Bellini, seemingly set in Appalachia, with a sooty faced Norma. I felt sorry for the cast as the production was at war with Bel Canto. It was better and worse than the prior NORMA at The Met. The best NORMA I ever saw was at the Paramount Theatre in Asbury Park with vocal power and simplicity that roused the audience with Anton Coppola as conductor.
I preferred Caballe to Callas. It could be I'm biased because, in the late 80's at the Wiener Staatsoper, I saw her perform a cameo role. She brought down the house!
I was transfixed by the Sutherland/Horne duet. That's definitely one for the history books! By the way, who was the conductor for the duet?
Thank you!
Wow Leyla Gencer singing this was so gripping and so emotional - I was in orbit!