Evening star., 1927-09-11
NJ y S &c
BY HELEN FETTER.

and with the assistance of a Russian
singer III the other role sang the ex-
quisitc and poignant duet OF the Sec
ond act To cap the climax of re-
markable day, La Ponselle herself
motor-boated her guests back to the
landing, where the automobile waited
for the return trip. Moreover, Rosa
protested strenuously every wave OF
the watery way across the shortness
of the visit, though it was the dusk
OF late afternoon when she landed at
the other wharf.
She told how that morning her
Italian maid had reminded her that
it was Santa Rosa's day" 1t seemed
most appropriate. In the simplicity
of her attitude, the natural human
ness" Of her conversation and the
thoughtfulness Of her hospitality
there was a picture long to be cher
ished in the memory OF what real
prima donna can do and be. The
airs and so-called "temperamental-
isms" Of the prima donna of tradl-
tion were totally absent. Modesty
and sincerity are the dominant tea
lures of this American prima donna.
Long may she sing!
X X X X
A S the opera Norma" has not
"A been heard in this country for
some time, it might be OF interest
to mention here a few concise facts
concerned in its history. The libretto,
written by Felice Romani (of the
same family name as Rosa PonSelle' S
coach), was based upon French
tragedy, written by Sonnet, which
was first produced at the Iheater
Francais, in Paris, year previous to
the first performance of the opera.
Vincenzo Bellini, whose La SOnnam-
bula" had won much favor, wrote the
score of Norma" in the old Italian
style, with airs and ensemble num-
bers based upon the simplest har-
monic and melodic lines. The trst
production was held in Milan Decem-
ber %, 1881. Another Italian produc-
ton was given in London two years
later, and in 1887 the first perform
ance in English was given at the
Drury Lane Theater of London Pro-
ductions also were given IN Paris,
Vienna and Berlin with much sue
cess. The first New York production
was at the Park Theater FEBRUARY
Is, 1S41, and the New Orleans opera
CO. presented it i'll December, io4z.
A recent revival was presented by
the Boston Opera Co. Other Amer
;can productions were in l843, fea-
turing Corsini and Perozzi 1854, with
Grisi. Mario and Susini, at the open,
ing of the Academy of Music, ana
December, 1891, at the Metropolitan,
with Lilli Lehman in the title role.
Other great singers whose names
have added luster to the role were
Delna and Albani.
THE opera Norma" usually pre-
l. sented in two acts, probably will
be given in four acts in this coming
Metropolitan production. 1t will be
conducted by Serafn. The story is
quite simple and the action laid IN
the time of the Roman conquest OF
Gaul. As the opera opens the scene
is the sacred grove of the DruidS,
and the Gallo hosts are seen assem-
bling for special rites and hoping
their high priestess, Norma, will bid
them rise against their Roman en-
emv. However, following the cere-
mony of cutting the mistletoe, Norma
warns them against war with. the
Romans.
In another scene, Pollione, Roman
proconsul, commanding the legions
of Gaul, conhdes to his lieutenant,
Flavio that his love for Norma, to
whom he is secretly welded and by
whom he has two children, has
cooled and he now has an infatua-
ton for the Virgin Adalgisa.
At the same time, Adalglsa, wor-
ried by her love for Pollione and her
vows of chastity, consults Norma as
the high priestess and confdes her
unhappy secret. Norma, upon learn
ing that the man is Pollione, becomes
filled with rage and sorrow. Her
thoughts turn to murder of her hus-
band and childyen and then for her
self death on the sacrihcial altar.
However, when the furious mother
advances upon her helpless babies
with uplifted dagger, she finds it inn
possible to kill them and falls on her
knees in agony. Then Norma sends
for Adalgisa, and after telling her
the secret of her marriage with Pol
lone, says she will kill herself on the
funeral pyrc and leave her husband
free to marry Adalgisa. The latter,
however, insists that she will per-
suade Polhone to return to Norma.
The effort is futile, and the wounded
Norma calls the warriors together.
intending to have Pollione killed, but
instead latter a duet of persuasion
with Pollone) she tells the Gauls OF
her broken VOWS as prieStess and
conhding her children to her sorrow
ing fathers charge, claims purihca-
ton by death upon the sacrihcial
pyre. Suddenly Pollione awakes to
his real self and, finding his love for
Norma overwhelming, insists upon
sharing her death. His wish is
granted, and the final curtain falls
upon the two lovers going out to
meet their death together.