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[Met Performance] CID:109700



Norma
Metropolitan Opera House, Sat, December 26, 1931 Matinee Broadcast








Norma received two performances this season

Review 1:

Review and account of Olin Downes in The New York Times

100TH ANNIVERSARY OF NORMA OBSERVED

Bellini's Opera given a Superb Performance at the Metropolitan

ROSA PONSELLE BRILLIANT

Vast Audience Stirred to Enthusiasm - Gladys Swarthout a New Adalgisa

In the best of possible worlds, in which everything was for the best, we would have only such performances as the Metropolitan Opera Company gave yesterday afternoon of "Norma." Bellini's opera was then given a presentation of superlative finish and eloquence. This performance took place on exactly the 100th anniversary of the masterpiece. The "Norma" production has proved, before this, one of the Metropolitan's great achievements. The performance of yesterday had doubtless received special care; its results stirred the audience, not merely as an exhibition of song, but as the expression of dramatic feeling. It requires an interpretation as distinguished and resourceful as this one to make the listener realize all that there is in an old-fashioned work of genius. Yesterday's audience knew the flavor, the atmosphere, the grand style of the opera. Bellini's simple technical methods of instrumentation and of thin and not unconventional harmony, and his reliance upon pure melody as his principal resource, made the esthetic and emotional qualities of the score the more impressive, astonishing. This must be ranked as the finest interpretation of the work that the Metropolitan has given since Mr. Gatti-Casazza revived it four seasons ago.

Miss Ponselle was her old self and more. There was a period, following her illness, when there was a retrogression in her singing. We never heard the music of "Norma" so completely in her voice as yesterday, or the voice itself so opulent and brilliant in this difficult music. She also gave the acme of dramatic significance and grand style to the recitatives. Her singing grew in authority, confidence and effect as the voice warmed, and the occasional slur or sideways attack of a high tone disappeared. The quality of this rare voice in itself was a delight; some of the technical deeds of derring-do were thrilling from the standpoint of sheer execution, but it is only just to say that at no time was technical dexterity sought as an end in itself; always the resources of the voice and technique were at the service of dramatic expression. Furthermore, in deportment and in acting Miss Ponselle carried out the implication of her song. Her bearing and gestures were noble. With Miss Ponselle was a new Adalgisa, in the person of Gladys Swarthout, who proved a very distinct addition to the cast. This was Miss Swarthout's first test in a role of any such demands. The freshness and quality of her tones, the surprising virtuosity which she, too, assembled, and her sincerity and enthusiasm, made a strong appeal. And good it was to hear concerted passages written in third, or other florid passages scored for two voices, sung in tune, to say nothing of the afflatus of youth, gifted and great daring.

Mr. Lauri-Volpi's singing was not particularly eventful, nor is his style the ideal one for Bellini, yet it has grown in continence and proportion, while the voice remains one of exceptional capacities. How many tenors today are to be found to excel Mr. Lauri-Volpi in this role? Mr. Pinza's Oreveso had the breadth, dignity and sonority that the music demands. The chorus maintained its high reputation; the groupings on the stage were in consonance with the style of the opera. Some of the sets have a spaciousness and quality which well becomes the work, a thing especially true of the first act and the last. Mr. Serafin's masterly conducting of the orchestra lent background and emphasis to everything, and reminded the reader forcibly of the many simple but original strokes of genius to be found in Bellini's instrumentation. The Metropolitan and its audience had reason to congratulate themselves on this moving interpretation of a great opera. To such an accomplishment the company has indeed the right to point with pride. It is questionable if such an interpretation of "Norma" could be heard in any other lyric theatre in the world today.

The audience which packed the house gave every token of its enthusiasm, Miss Ponselle, naturally, received the lion's share of the plaudits. Miss Swarthout's contribution was recognized. Mr. Gigli [sic], Mr. Pinza and Mr. Serafin were among those signally honored.

NORMA BROADCAST BY RADIO TO THE WORLD

Two Acts of Bellini's Opera Are Transmitted in Second of Metropolitan Tests.

The broadcasting of grand opera by the Metropolitan Opera Company, begun on Christmas Day with the matinee performance of Humperdinck's "Hansel and Gretel," successfully met its crucial test yesterday afternoon when the third and fourth acts of Bellini's "Norma" were carried by radio to listeners throughout this country and abroad. Besides demonstrating to the satisfaction of General Manager Gatti-Casazza that the radio could do justice to an opera that is regarded as perhaps one of the most difficult to microphone, the occasion had another significance. The opera was sung on a modern stage, with its elaborate settings and modern lighting effects, exactly 100 years, to the day, after it was first produced on a less brilliant stage at Milan, Italy. Like the Metropolitan's first broadcast of Christmas Day, yesterday's performance was carried to a vast unseen audience by WEAF, WJZ and associated short-wave transmitters. Deems Taylor, the composer, again narrated the action, but this time he was more sparing with his words, although careful to keep the radio audience in touch with the stage action.

While the broadcast of the complete "Hansel and Gretel" on Friday afternoon was hailed as a distinct success, Mr. Gatti-Casazza let it be known afterward that he considered the radio rendition of "Norma" a more difficult feat. The dramatic Bellini opera is largely vocal in its unfolding, whereas much of Humperdinck's fanciful operatic tale depends upon orchestral effects. After yesterday's performance the noted impresario was so highly pleased that the radio engineers of the WEAF-WJZ organization breathed sighs of relief.

Aided by Taylor's Narration.

Although the first and second acts of the opera were omitted from yesterday's broadcast, Mr. Taylor gave the radio audience a vivid description of what had occurred in these two acts, thereby eliminating confusion and leading up logically to the [first] musical phrases of the third act. Thereafter, the narrator inserted comment wherever necessary but allowed the unseen audience to listen to the music without interfering too much with the program. The effect, as one listener described it, was "not unlike a gentle-voiced prompter bidding one to take heed of what was happening before the footlights.'

Officials of the opera company had assembled a splendid cast for the production. As the high priestess of the druidical temple of Esus, Miss Rosa Ponselle sang the title role of Norma - a part in which she had been acclaimed many times here and abroad. Others in the cast were Giacomo Lauri-Volpi as Pollione, a Roman proconsul in Gaul; Ezio Pinza as Oroveso, Archdruid and father of Norma; Gladys Swarthout as Adalgisa, a virgin of the temple; Minnie Egener as Clotilde, Norma's confidante, and Angelo Bada as Flavio, Pollione's centurion. Tullio Serafin conducted. The action of the opera is laid in Gaul at the time of the Roman invasion. Mr. Taylor described the operatic high priest summoning his druids to consultation and to beg the help of the gods in driving out the Roman invaders. With the unfolding of the plot, the radio listeners also heard that Pollione had secretly betrayed Norma, whom he loves no longer, although she has borne him two sons.

Ponselle Heard as Norma.

Miss Ponselle was heard over the radio as the first soloist. The narrator described the stage setting as the diva began the song of farewell to the two children. Norma summons Adages asking her to take the children to Rome to bring them up. Adalgisa, also in love with Pollione, promises to give up the Pro-Consul. At this point comes the duet between Norma and Adalgisa, in which the two unhappy women vow eternal friendship. With the ending of the duet, a storm of applause from the Metropolitan audience resounded over the radio, drowning out the words of the narrator as the third act ended.

In the ensuing intermission Mr. Taylor repeated the story of the opera and told incidents in the life of the composer, while on the stage the two singers were appearing before the curtain in response to vociferous calls from the house. Against the background of the cheers of the standees and the hand-clapping of the others in the audience, Mr. Taylor's word-picture helped the radio audiences of the United States and Europe, to feel that they were actually in New York's famous opera house.

Hearers Prepared for Stage Scene.

Mr. Taylor just had time to complete his description of the scientific arrangements by which the magic of radio transmission of grand opera was accomplished when the curtain slowly rose for the last act. The radio audience, thanks to the narrator, learned that in the fourth act the Druids assemble in a sacred grove to plan a revolt against the Romans; that the Arch Druid warns his followers that "the hour of vengeance" has not yet arrived, the gods not having spoken. On through the action went the description: how Norma, in the finale, strikes the great gong in the grove to summon the Druids once more; how Pollione enters and is accused; and how Norma, elected to kill, falters at the command.

Finally the great chorus went out on the air after Norma has informed the Druids that "the victim has been found for the sacrifice." Here Mr. Taylor narrated, "Name her." "It is I," sang Norma. Then followed the duet between Norma and Pollione and the touching appeal to Oroveso by Norma that he take care of her children. A pyre has been erected. Norma mounts it, but not alone, for Pollione, whose love has been rekindled at the greatness of her soul, joins her. At the conclusion of the opera Mr. Taylor read from his microphone a statement given out by the Metropolitan management. Thousands of letters, telegrams and telephone calls had been received at the opera house and at broadcasting headquarters, he said, which the management thankfully received, as it desired to have the radio audience comment on the broadcasting.

Search by season: 1931-32

Search by title: Norma,



Met careers

• Tullio Serafin [Conductor]
• Rosa Ponselle [Norma]
• Giacomo Lauri-Volpi [Pollione]
• Gladys Swarthout [Adalgisa]
• Ezio Pinza [Oroveso]
• Angelo Badà [Flavio]
• Minnie Egener [Clotilde]
• Alexander Sanine [Director]
• Joseph Urban [Designer]