Romani believes it to be very effective, and precisely because of the all-inclusive character for you, which is that of Norma. I hope that you will find this subject to your liking. He reported in a letter to Pasta on 1 September: By the end of August it appears that Romani had completed a considerable amount of the libretto, enough at least to allow Bellini to begin work, which he certainly did in the first weeks of September as the verses were supplied. Donzelli provided Bellini with precise details of his vocal capabilities which were confirmed by a report which the Neapolitan composer Saverio Mercadante also provided. They would fill the roles of Adalgisa and Pollione. By the summer, they had decided to base it on Alexandre Soumet's play which was being performed in Paris at around that time and which Pasta would have seen.įor the forthcoming autumn/winter season, La Scala had engaged Giulia Grisi (the sister of Giuditta Grisi) and the well-known tenor Domenico Donzelli, who had made a name for himself with Rossini roles, especially that of Otello. Bellini and Romani then began to consider the subject of the coming autumn's opera.

With Bellini's La sonnambula successfully staged in March 1831 and Giuditta Pasta having demonstrated her extensive vocal and dramatic ranges in creating the role of Amina, the Swiss village maiden, she had been engaged by La Scala for her debut during the following season. The opera for December 1831 at La Scala became Norma, while the one for the 1832 Carnival season at La Fenice became Beatrice di Tenda.

Giuditta Pasta for whom the role of Norma was createdĬrivelli and Company were managing both La Scala and La Fenice in Venice, and as a result, in April–May 1830 Bellini was able to negotiate a contract with them for two operas, one at each theatre.

Norma lyric opera