NORMA Sneak Peek

In the Roman Empire, a clandestine love affair brings two mortal enemies together during a time of war. But when Norma discovers that her beloved now loves another, a fiery new battle begins as betrayal, anguish and fury take the reins.
Six Performances Only! November 21 to December 13
Buy Tickets at www.LAOpera.org/Norma
A superlative quartet of soloists is led by the extraordinary Angela Meade-hailed by Opera News as “a voice to be reckoned with”-in the iconic title role, opposite the Adalgisa of mezzo-soprano Jamie Barton, this year's winner of the prestigious Richard Tucker Award. From the sublime “Casta diva” to the blazing finale, Norma delivers an overwhelming feast of vocal fireworks.

[@johnojvind7641]

The singing quality matches the looks perfectly.

[@bargalad]

Let`s face it, opera is and always has been about the singing. A good singer with a good conductor can express much of the drama needed from what has already been put on paper by the composer and librettist. Good sets and well fitting costumes can add to that along with a sensitive, knowledgeable director. The problem in recent years is regularly directors who don`t really even like opera are given the task. They go out of their way to try and come up with something new to "educate" the opera going public. Often this is at the expense of the music and drama as the composer intended. They knock all natural personality out of the singers until by the time first night comes there is little left. If, as is often the case, the production is not a success then who gets the blame? You can bet it`s rarely the directors but the poor singers who`s necks are on the line. Empty seats across many theatres are also a result of this. I have seen many modern productions that have absolutely blown me away but far more that have left me bewildered. It`s nice to see and hear something traditional like this Norma once and a while. After all it is a tradition that has survived for over 400 years.........

[@vincec8218]

Please give soprano Kasondra Kazanjian a listen

[@siegfriedschwert1352]

I think the comments here present a perfect snapshot of the state of opera today. If I am not mistaken, half of the comments refers to the singing, but the other half seems to be unfortunately and primarily focused on looks, production or acting without any mention of the singing or conduction. One comment here implied that opera singers should be as attractive or energetic as Beyonce, or else opera-houses should not hire them. With that kind of cretinous thinking, opera will eventually and inevitably go extinct.

[@vincec8218]

@tomasburi Please give soprano Kasondra Kazanjian a listen

[@peteradaniel]

@UC34SKsilMnLfiAyMlkFYTGA who the fuck are you? Her agent or something?!

[@alvincay100]

Such a gravitational stage presence has not been had since Pavarotti passed away.

[@tklogan111809]

You can say that again, the laws of gravity are being defied by these two. Call it ENORMA!

[@wotan10950]

astroboy royale They’re on that stage because of their voices. I’m sure you’d flip if someone made a shitty comment about two gays on the stage.

[@wotan10950]

Fantastic voices!

[@vincec8218]

Please give soprano Kasondra Kazanjian a listen

[@francesco4090]

Amazing, thanks!

[@vincec8218]

Please give soprano Kasondra Kazanjian a listen

[@marianabotelho3043]

Im so in love with it

[@vincec8218]

Please give soprano Kasondra Kazanjian a listen

[@barbaragauhl6175]

Beautiful ❤️

[@vincec8218]

Please give soprano Kasondra Kazanjian a listen

[@SatanAteMySocks]

Interesting. Pollione seems to have a very specific type of women he's into. Well, why not.

[@vincec8218]

Please give soprano Kasondra Kazanjian a listen

[@paulscorner]

😂

[@christopherrobinwattsthoma6318]

Oh this is so excruciatingly terrible there’s no words to describe it!

[@szilvia2080]

Grotesques personnages! Des monstres de graisse.

[@wallenstein72]

It is true - sometimes fantastic, imaginative singing can make forget about good acting, looks etc. in opera (remember Björling, Caballé etc.), even though we should not forget: the reason for the existence of opera is the union of music and acting, it should have likewise qualities for the ears AND the eyes plus feelings and mind, of mourse. Otherwise go for concert performances, which is absolutely NOT , what the composers intended, when they turned to opera. Think of Verdi's letters, where he is mainly concentrating on theatrical subjects. Unfortunatley in this particular case I have to say: the singing is definetly NOT of the quality, that could compensate the grotesque looks. Forced, tremolous singing of Norma and Pollione, lacking any special quality of timbre, a disastrous italian diction and no understanding of Belcanto phrasing whatsoever. What a pity.

[@vincec8218]

Please give soprano Kasondra Kazanjian a listen

[@dunrob3]

Grotesque! Where is the 'theatrical' aspect of the opera? How does one expect younger generations (bred on Beyoncé and other beauties) to go for this farce?

[@notnek202]

Beyoncé ? you can’t be serious. In twenty years she will be long forgotten!!!!

[@vincec8218]

@@notnek202 Please give soprano Kasondra Kazanjian a listen

[@JacquelineLanceTenor]

​@@notnek202 this has got to be one of the most out of touch comments I've ever read. Yes opera singers and contemporary singers don't belong in the same conversation, however, Beyoncé remains one of the most monolithic contemporary artists of the 21st century. To suggest that she won't be remembered in 20 years is one of the most stupid things I've ever heard. That would be like saying that Whitney Houston wouldn't be remembered after she died. Both of these women have made a profound impact on the music industry and are loved by millions and millions of people world wide. Don't be an ignorant fool.

[@johnojvind7641]

@@notnek202 And the two rhinos on this stage always will be forgotten.