Storming Norma fights to save a dud: English National opera offers a dreary affair tailored to austerity Britain
Norma (English National Opera, Coliseum)
Verdict: Soprano rises above drab production
Rating: 
For its first production of Bellini’s masterpiece Norma, ENO could have staged a picturesque drama of druids and Romans in ancient Gaul.
But, with the contrary death wish which has got the company into difficulties, it has opted for a dreary, drab affair tailored to Austerity Britain.
The English National Opera's masterstroke with Norma was casting Majorie Owens as Norma (pictured)
Its one masterstroke was to import giant Virginian soprano Marjorie Owens, who pins the audience to the backs of their seats with a large-scale portrayal, finely vocalised.
When Owens hits a high note, it stays hit. I kept hoping she would sweep the other characters into the orchestra pit with one wave of her hand.
Costumier Sue Willmington clads her in a vast bell-tent, perhaps run up out of dull old curtaining, but nothing can impede La Owens when she gets into her stride. She begins with an epic account of Norma’s big aria and goes on from there.
Christopher Alden’s production is set ‘in a remote, rural community in the mid-19th century’. An enormous log dominates Charles Edwards’s boring set, affording mild interest.
Christopher Alden’s production is set ‘in a remote, rural community in the mid-19th century’. An enormous log dominates Charles Edwards’s boring set, affording mild interest. Pictured: Jennifer Holloway as Adalgisa and Peter Auty as Pollione
Which way will it tilt next? Will those ropes hold, or will it crash down, obliterating half the chorus?
And you know that a producer has lost the plot when characters who are not even supposed to be on stage carry out Strange Symbolic Acts in the background. My advice is to concentrate on the singing.
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