Opera guides
Norma: synopsis, roles, arias and diction notes
Bellini's Norma in one page: librettist, premiere, voice types, the story of the druid priestess, Casta Diva and other arias, and Italian diction notes.
Diction Desk editors · Checked 19 October 2026 against 5 sources
Norma is a tragedia lirica in two acts by Vincenzo Bellini to a libretto by Felice Romani, after Alexandre Soumet's play Norma, ou L'infanticide1. It was first produced at La Scala in Milan on 26 December 18311. Its best-known number is the soprano prayer Casta diva in Act 1, one of the most famous arias of the nineteenth century1.
- Composer
- Vincenzo Bellini1
- Librettist
- Felice Romani1
- Premiere
- 26 December 1831, La Scala, Milan1
- Language
- Italian1
- Acts
- 21
- Genre
- Tragedia lirica; a leading example of bel canto1
Contents
Norma is regarded as a leading example of the bel canto genre1. ENO describes it as celebrated for its finely shaped melodies and exquisite arias4. This page gives the facts to have in hand before you open the score; it is one of many guides in the operas section.
At a glance
Bellini’s two-act opera has a libretto by Felice Romani1. It follows the play Norma, ou L’infanticide (Norma, or The Infanticide) by Alexandre Soumet1. Romani (1788 to 1865) was an Italian poet, librettist and scholar, considered the finest Italian librettist between Metastasio and Boito, who wrote many librettos for Donizetti and Bellini2. Bellini, at the height of his powers, was very demanding of his librettist1. Romani called Norma the most beautiful rose in the garland of his work with Bellini1.
The first production was at La Scala in Milan on 26 December 18311.
Who’s who
| Role | Voice type | Premiere singer |
|---|---|---|
| Norma, daughter of Oroveso, high priestess of the druids | Soprano | Giuditta Pasta1 |
| Pollione, Roman proconsul in Gaul | Tenor | Domenico Donzelli1 |
| Adalgisa, priestess in the grove of the Irminsul statue | Soprano (often sung by mezzo-sopranos) | Giulia Grisi1 |
| Oroveso, Norma’s father, chief of the druids | Bass | Vincenzo Negrini1 |
| Clotilde, Norma’s friend | Soprano | Marietta Sacchi1 |
| Flavio, Pollione’s companion | Tenor | Lorenzo Lombardi1 |
The title role calls for great vocal control of range, flexibility and dynamics, and is one of the most taxing and wide-ranging parts in the soprano repertoire1. Lilli Lehmann said singing all three Brünnhildes in one evening would be less stressful than one Norma1. She also said that in Bellini a singer must always care for beauty of tone and correct emission1.
Synopsis
Norma is a high Druid priestess of a temple in Gaul during the Roman occupation5. Although she has secretly broken her vows to love Pollione, she has borne him two children1.
Act 1
Oroveso leads the druids in a procession in the forest to pray for victory against the invading Romans1. Pollione tells Flavio that he no longer loves Norma, having fallen in love with the priestess Adalgisa1. Norma calms the Gauls with a prayer to the moon, Casta Diva3. Adalgisa says she has resolved to leave Pollione and return to her temple4. Norma secretly acknowledges she would defend Pollione with her life should he return to her4.
Act 2
Norma, in her anguish and despair, contemplates killing her children4. Oroveso brings dispiriting news: the next proconsul will be even harsher than Pollione4. Clotilde reports that a Roman has desecrated the temple and been captured in the sacred cloister of the virgins4. Norma announces that the victim is herself, and Pollione’s love is reignited4. Norma publicly confesses her fault and is sentenced to death by fire1. Pollione joins her at the pyre, declaring that a holier and everlasting love will begin there1.
The famous arias
| Piece | Role | Act | First line |
|---|---|---|---|
| Opening chorus | Oroveso and druids | 1 | Ite sul colle, o druidi (Climb the hill, druids)1 |
| Dream aria | Pollione | 1 | Meco all’altar di Venere1 |
| Casta diva | Norma | 1 | Casta Diva, che inargenti (Pure Goddess)3,5 |
| Teneri, teneri figli | Norma | 2 | Teneri, teneri figli (Tender, tender sons)1 |
| Deh! non volerli vittime | Norma and Oroveso | 2 | Deh! non volerli vittime (Ah, do not demand them as victims)1 |
Casta diva is one of the most famous arias of the nineteenth century1. Giuditta Pasta first felt it was ill adapted to her vocal abilities, then adapted after a week of rehearsal1. Norma’s Teneri, teneri figli is sung over her sleeping sons1. Schopenhauer called the work a tragedy of extreme perfection, and singled out the duet Qual cor tradisti, qual cor perdesti1.
Lines to read aloud
| Original | Our translation |
|---|---|
| Casta Diva, che inargenti3 | Pure Goddess, you who silver |
| Queste sacre antiche piante3 | These sacred ancient trees |
| Ite sul colle, o druidi1 | Climb the hill, druids |
| Teneri, teneri figli1 | Tender, tender children |
Background, premiere and versions
On opening night the opera was received with what Weinstock describes as chill indifference1. Bellini wrote to Florimo that night: Fiasco! Fiasco! Solemn fiasco!1 Norma was given 34 performances in its first season at La Scala, and by the end of the 19th century La Scala alone had given 2081.
The British premiere was in London on 20 June 18331. The US premiere was at the St. Charles Theatre in New Orleans on 1 April 18361. The Met gave its first Norma on 27 February 1890, with Lilli Lehmann singing the title role in German1.
Rosa Ponselle played the title role in New York and London in the first half of the 20th century1. Post-war exponents include Maria Callas, Leyla Gencer, Joan Sutherland and Montserrat Caballé1. Callas made two studio recordings of the opera for EMI/HMV1. Pavarotti called Joan Sutherland the greatest female voice of all time1.
Verdi wrote in 1898 that Bellini is poor in harmony and instrumentation but rich in feeling and in an individual melancholy of his own1. Kimbell says Bellini believed the true magic of opera depended on a kind of incantation in which dramatic poetry and song are perfectly fused1. Marion Zimmer Bradley’s 1993 novel The Forest House was based on the plot of Norma1.
Language and diction notes
The libretto is in Italian, so the rules in Italian diction for singers apply throughout. Before you sing an aria, mark each stressed e and o and each double consonant. The first lines in the table above are good first exercises: transcribe each into IPA, then check it with a coach.
Bellini’s ideal is poetry and song fused, so speak each line as text before you sing it1. Care for beauty of tone and correct emission applies to every vowel you sing1.
Where to go next
Two more bel canto and Italian operas to study next are Lucia di Lammermoor and La traviata.
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