It is always a thrill when the singer in an opera’s title role delivers the goods. This is most certainly the case with soprano Marjorie Owens, who turns in an extraordinary performance as Norma, the druid priestess of Bellini’s 1831 opera. The American singer quickly warms to her part, demonstrating rock-solid technique, power, smoothness and exquisite control; her showcase aria ‘Casta Diva’ (‘Virgin Goddess’ in George Hall’s clear English translation) produced with such restraint and beauty that the audience is immediately won over.
This is ENO’s first production of the work and Owens is ably supported by tenor Peter Auty as her illicit Roman lover Pollione – a strong lyric tenor, who, while not as naturally flexible as Owens, shows remarkable stamina as he copes admirably with the extended arias and soaring cabalettas. Other strong performances come from American bass James Creswell as Oroveso (Norma’s father and druid leader), a strong singer, but one who held the stage for most of the performance in silence as a burly, brooding woodcutter. Meanwhile, mezzo-soprano Jennifer Holloway is sympathetic as Adalgisa, Pollione’s bit on the side.
The action takes place in Adam Silverman’s starkly lit set, in which designer Charles Edwards presents a full-stage wood-panelled shed, housing a huge tree trunk that had been stripped and adorned with runes. This device stands for both Irminsul, the goddess of the woods whom these druids worship, and a clearly phallic totem, which director Christopher Alden has his cast variously straddle and caress, before it is, er, erected high in the room.
And a word for the beleaguered ENO Chorus, facing great austerity in reality, don’t let it show onstage, and pull off another top-class performance in both rousing and close-harmony singing.
In the pit, Stephen Lord conducted a solid performance from the ENO Orchestra, allowing the obbligato soloists, notably principal flute, to shine.