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Norma at Theater an der Wien (Photo: Monika Rittershaus)

Battlelines are being drawn in Vienna as two new productions of Bellini’s Norma are unveiled at its two main opera companies within the space of just seven days. Next weekend, Cyril Teste directs at the Staatsoper but last night saw MusikTheater an der Wien kickstart the showdown with a staging by Russian director Vasily Barkhatov. On paper, both casts look strong, but Intendant Stefan Herheim brings his 'A game' to Theater an der Wien: 'A' for Asmik Grigorian, as the Druid high priestess, and 'A' for Aigul Akhmetshina as Adalgisa, both making triumphant role debuts.

Barkhatov’s production was originally slated for 2020, but was postponed by the pandemic (Grigorian is the only surviving member of that cast). It’s an effective staging, simple yet detailed at the same time, and the narrative is clear. Forget Gaul under Roman occupation. Barkhatov shifts the action to the mid-20th century and, even if it’s never explicit, Olga Shaishmelashvili’s costumes give the invading forces the feel of the Axis Powers in the Second World War.

Norma runs a factory making plaster cast statues of Greek deities – cast-a diva, indeed – when, during the overture, the invaders break in and smash up the place. The curtain rises ten years later where the workers, still under Norma’s leadership, are forced to make plaster busts of the occupying regime’s leader. During ‘Casta diva’, fragments of a statue of a Greek goddess are laid out in a ritual of remembrance.

Set designer Zinovy Margolin effects quick scene changes by means of a corridor outside Norma’s apartment, a narrow boxed space which is great for projecting voices. Adalgisa confesses her affair with the feckless Pollione (with whom Norma has had a secret relationship which has borne two children) over a cup of tea, at which point Norma’s wrath is unleashed. She strikes the factory gong and kicks over a bust to signal a rebellion.

With Barkhatov robbing the opera of its sacred setting, the impact of Norma’s sacrilegious confession in the final scene is lessened – she hasn’t broken any vows of chastity, only her own moral code – so that the baying crowd feels slightly false. Norma fires up the kiln, but she is ultimately denied her self-immolation.

Norma at Theater an der Wien (Photo: Monika Rittershaus)

Celebrated in roles such as Salome, Rusalka and Cio-Cio-San, Grigorian has never sung bel canto repertoire. Beyond the iconic aria ‘Casta diva’, the title role is especially taxing in its vocal demands. If following in the footsteps of Maria Callas and Joan Sutherland wasn’t daunting enough, Grigorian was also stepping into the shoes of her mother, Irena Milkevičiūtė, who premiered the opera in Lithuania and was a renowned interpreter. The infant Grigorian played opposite Milkevičiūtė as one of Norma’s children and is dedicating these performances to her mother.

Despite being announced as indisposed with a fever, Grigorian sang the title role with great vocal finesse. ‘Casta diva’ was taken by conductor Francesco Lanzilotta at a measured tempo, allowing plenty of time for her to negotiate Bellini’s ornamental curlicues, and she effected a lovely pianissimo. Apart from a few wild notes in the cabaletta, most of the vocal fireworks were ignited. Dramatically, Grigorian was incendiary, a Norma with attitude. Her response to Adalgisa’s confession was laced with sarcasm, finally exploding in Act 2. ‘In mia man alfin tu sei’, her duet with Pollione, is if anything a tougher challenge than ‘Casta diva’ but Grigorian dug into it tremendously.

Akhmetshina, with the best bel canto credentials of the cast, proved an outstanding Adalgisa. The role was written for soprano Giulia Grisi and although it’s often taken by mezzo-sopranos, there are plenty of high notes to tackle. Akhmetshina’s mezzo is luscious and lustrous but her top notes are more secure than Grigorian’s, pealing resoundingly around the house. Their duets together (slightly shorn of repeats) were the vocal highlights of the evening.

Tareq Nazmi was a sonorous Oroveso, here a factory foreman, and Herheim’s luxury casting was completed with tenor Freddie De Tommaso as a bullish Pollione, eventually tempering the Franco Corelli decibels – too loud for a house this size – to offer more refined singing in Act 2. He was terrific opposite Grigorian in the final scene.

The Arnold Schoenberg Choir were their usual committed selves, singing powerfully (beautifully blended), each creating a distinctive character. Under Lanzilotta, the Wiener Symphoniker played with style and volatile emotion to crown an outstanding evening at the Theater an der Wien.