In Norma, Vincenzo Bellini (1801-1835) paints a chilling portrait of a woman torn between her political existence and her secret double life as a mother and lover. With this opera, Bellini created the pinnacle of early 19th-century bel canto, a genre where musical virtuosity and captivating theatricality go hand in hand.

Norma is sometimes compared to climbing Mount Everest.

‘That’s quite accurate because the title role is written for three types of voices. Norma’s first recitative (a speech-singing passage that propels the narrative, ed.) is written for a dramatic soprano. The famous aria ‘Casta diva’, which immediately follows, was composed for a lyrical soprano. And all the coloratura (virtuosic musical embellishments, ed.) with those many sustained high notes require a very light soprano voice. Bellini demands immense vocal flexibility: not only from the lowest to the highest notes, but also in the intentions of the voice, which moves from silken soft to sharp and furious. The most difficult are the quiet high notes or the loud low notes. For me, Norma is the pinnacle of belcanto. That means for me that you, as a singer, can do everything the composer demands.’

Do you draw inspiration from other interpretations?

‘Norma is written for what is called a soprano assoluta and demands the greatest technical skills. Maria Callas, in her legendary recordings, also added emotional expression. The role is so ‘different’ in each scene where she sings. As a singer, you need different skills each time to embody Norma’s many characteristics. Callas was perfect for the role and sang effortlessly. With Bellini, that is very important. You must rise above the orchestra without losing the beauty of the notes.’

Can you somehow identify with Norma as a woman?

‘No, absolutely not. Norma is, in my opinion, a psychologically disturbed woman. The roots of her passive-aggressive and depressive state of mind lie in her youth and in the towering expectations that both her father and her people have of her. I can’t identify with how she places Pollione above her own life or that of her children, but I can imagine what it is like to be her. Just for a moment.’

In the final scene, Norma ultimately prevents her love rival Adalgisa and Pollione from having to die, surprising everyone by naming herself as the blood sacrifice.

‘Still, I don’t find that noble. For Norma, that very dark soul, it’s the only way to make sure Pollione won’t leave her. She knows he will follow her into death. For him, it’s the only escape; otherwise, he would be killed.’

What can a mythical story like that of Norma tell us about the world today?

‘Personally, I sometimes recognize my mother in Norma. Her love for my father was just as overwhelming and dysfunctional as Norma’s love for Pollione. My mother was jealous every moment of the day when my father wasn’t home. When he was home, she was angry at him. Audiences can recognize family situations in the opera that reflect their own world or that of people close to them. The relatability of Norma also lies on a political level. She sends so many people to their deaths simply because she feels betrayed. I left Russia more than twenty years ago. I don’t feel at home there, though I’m still connected to Russian culture. Not only in Russia are there political leaders like Norma who can’t distinguish between personal feelings and political opportunities to act. The egos of such narcissistic leaders have far-reaching consequences for millions of innocent people. They are leaders who can manipulate people very well but are incapable of empathy.’