{"id":116913,"date":"2017-10-20T10:00:43","date_gmt":"2017-10-20T14:00:43","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=116913"},"modified":"2017-10-23T12:29:56","modified_gmt":"2017-10-23T16:29:56","slug":"norma-not-lie-believing-women","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/norma-not-lie-believing-women\/","title":{"rendered":"Norma Does Not Lie: On Believing Women"},"content":{"rendered":"
\"\"<\/a>

Sondra Radvanovsky and Joseph Calleja. Photo: Ken Howard for the Metropolitan Opera.<\/p><\/div>\n

 <\/p>\n

Ten years ago, the first time I saw Vincenzo Bellini\u2019s 1831 opera,\u00a0Norma<\/em>, at the Met, I noticed one quirky bit of stage business. In the opera, the Roman proconsul Pollione has come to 50 B.C.E.<\/small> Gaul to pacify the locals. He\u2019s also pursuing a young, lovely priestess, Adalgisa. But his buddy Flavio calls him out: Pollione has already seduced the high priestess, Norma. Norma broke her vows and betrayed the revolution for Pollione\u2019s sake\u2014and gave birth to their two sons. So what about Norma and the kids?<\/p>\n

Pollione spreads his hands in an offhand, bro-ish shrug, as though it\u2019s too much effort to sing, \u201cSo what?\u201d or, \u201cWhaddya want me <\/em>to do about it?\u201d (We never see Flavio again; presumably he\u2019s been demoted.)<\/p>\n

After that, I looked for what I dubbed the \u201cMet shrug\u201d\u2014the \u201cman shrug,\u201d really. Isolde calls out Tristan for murdering her fianc\u00e9 and capturing her for a forced marriage: shrug<\/em>. Pinkerton impregnates and abandons fifteen-year-old Butterfly and gets called out: shrug. <\/em>The Met\u2019s movement coach had nailed it: so hilarious, so casually entitled, so irresponsible, so right<\/em>: \u201cWhaddya want me <\/em>to do about toxic masculinity? La donna \u00e8 mobile!<\/em>\u201d<\/p>\n


\nFrom The Marriage of Figaro<\/a><\/em> to Don Giovanni, <\/em>from Turandot<\/a><\/em> to Tosca <\/em>to Carmen, <\/em>the sexual assault, rape, and murder of women are stock plot contrivances. Some contemporary productions treat the violence in subversive ways, as Heartbeat Opera<\/a> did with Butterfly <\/em>this spring. The Met\u2019s new Norma<\/em><\/a> doesn\u2019t break any new directorial ground\u2014it relies entirely on the staggering artistry, vocal powers, and charisma of Sondra Radvanovsky in the title role and Joyce DiDonato as Adalgisa\u2014<\/em>but Norma<\/em> doesn\u2019t need a new take to be the <\/em>opera you should listen to this month, this week, right now. It\u2019s the opera where a woman\u2019s \u201cI believe you\u201d\u00a0changes everything.<\/p>\n

In a long, harrowing duet, Adalgisa confesses to Norma that she\u2019s violated her vows by falling in love. Remembering her own transgressions, Norma forgives her, then asks who Adalgisa\u2019s lover is. At that moment, Pollione walks in on them<\/a>.\u00a0(\u201cOops,\u201d said a man two seats over from me.)
\nPollione freaks out at Adalgisa. (\u201cWretched girl! What have you done?\u201d) Norma freaks out at Pollione. (\u201cShe is not to blame; the guilty one is you!\u201d) And what about Adalgisa, who discovers that the man she loves has been having a long affair with another woman, that he hurt her and lied to them both? How does she choose between her love for the perpetrator and the suffering of another woman?<\/p>\n

Adalgisa takes Norma\u2019s side. She tells Pollione, \u201cLeave me\u2014go away! You are a faithless husband!\u201d She tells him to return to his family. She tells her friend:<\/p>\n

Never allow that I may be
\nThe cause of such pain in your heart.
\nSeas and mountains forever
\nWill divide me from the traitor.
\nI shall stifle my cries
\nAnd swallow my anguish;
\nI shall die to bring back
\nThis cruel man to his children, to you.<\/p><\/blockquote>\n

When Pollione insists\u2014against her will\u2014upon stealing her away to Rome, Adalgisa flees in disgust.<\/p>\n

The patriarchy means that feminist alliances rarely win. Norma first has to run a course of bad-feminist destructive behavior. Adalgisa pleads Norma\u2019s case with the man they\u2019re both better off without and when Pollione refuses to renew his affections, Norma blames Adalgisa. Then Norma decides that a priestess who\u2019s broken her vows must be burned alive to appease the god Irminsul\u2014because if sacrificing Adalgisa is necessary to revenge herself on Pollione, all\u2019s fair in love and war!<\/p>\n

Finally, though, Norma has a change of heart: she will immolate herself, and her own guilt, rather than Adalgisa\u2019s. Pollione shouts to the crowd, \u201cDon\u2019t believe her!\u201d But she declares, \u201cNorma non mente<\/em>.\u201d (Norma doesn\u2019t lie.) Awed by her sacrifice, Pollione remembers why he loved her. He joins her in the flames, which nobody asked for, but okay.<\/p>\n

What happens to Adalgisa after the curtain falls? She escaped ravishment by the man she\u2019s come to despise. She didn\u2019t burn. In all likelihood, she moves into Norma\u2019s yurt<\/a> with Norma\u2019s nanny, Clotilde, adopts the kids, and lives happily ever after.<\/p>\n

There\u2019s more than one operatic heroine who turns the tables on misogyny: Tosca uses a letter opener to stab an oppressive rapist cop. Br\u00fcnnhilde revenges herself on her abusers by setting the whole world on fire. \u201cBrava!\u201d we shout. But both Tosca and Br\u00fcnnhilde die. While the world ends, <\/em>it doesn\u2019t change, <\/em>and we\u2019re left with the reality that no victim or survivor can singlehandedly transform an entrenched system of violence, abuse, and misogyny.<\/p>\n

It\u2019s maddening when survivors are the sole voices crying for justice. But when millions shout and nothing changes\u2014when justice doesn\u2019t come\u2014all we have is each other.\u00a0<\/em>It\u2019s a small step toward change, but it\u2019s crucial: to listen to the abused, to believe them, to side with all those who speak out. To warn the abusers: we believe what the survivors said. We see what you did, \u201csenza nube e sense vel<\/em>\u201d (without cloud or veil).\u00a0That\u2019s why Adalgisa\u2019s choice is so moving: through her own suffering and love she tells Norma,\u00a0I believe you. You are my friend. We\u2019ve both been hurt, so I choose you. And even though the fact that you still want this man is batshit, I support you.<\/em><\/p>\n

Embrace me.
\nI have found my friend again.
\nFor the rest of my life
\nI shall always stay with you.
\nThe earth is big enough
\nTo shelter us both from love.
\nTogether with you, courageously,
\nWe shall fight outrageous Destiny,
\nAs long as in our breasts
\nOur loving hearts shall beat …<\/p><\/blockquote>\n

 <\/p>\n

Norma\u00a0<\/span>resumes at the Met on December 1<\/span><\/span>; in the meantime, any recording will deliver the goods.
\n<\/em>
\nAlison Kinney is a correspondent for the\u00a0<\/em>Daily; this is the seventh installment of her opera column<\/a>,<\/em>\u00a0Songs to the Moon<\/em>. Her writing has appeared online at\u00a0<\/em>The New Yorker, <\/em>Harper\u2019s,<\/em>\u00a0Lapham\u2019s Quarterly,<\/em> Longreads,<\/em> Hyperallergic,\u00a0and\u00a0<\/em>VAN Magazine; her first book is\u00a0<\/em>Hood\u00a0(Bloomsbury).<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

  Ten years ago, the first time I saw Vincenzo Bellini\u2019s 1831 opera,\u00a0Norma, at the Met, I noticed one quirky bit of stage business. In the opera, the Roman proconsul Pollione has come to 50 B.C.E. Gaul to pacify the locals. He\u2019s also pursuing a young, lovely priestess, Adalgisa. But his buddy Flavio calls him […]<\/p>\n","protected":false},"author":907,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[22700],"tags":[31170,31167,4884,31168,2200,31169,31171,23365,31166,25179,31172],"class_list":["post-116913","post","type-post","status-publish","format-standard","hentry","category-our-correspondents","tag-butterfly","tag-carmen","tag-don-giovanni","tag-heartbeat-opera","tag-metropolitan-opera","tag-norma","tag-pollione","tag-the-marriage-of-figaro","tag-tosca","tag-turandot","tag-vincenzo-bellini"],"acf":[],"yoast_head":"\nNorma Does Not Lie: On Believing Women<\/title>\n<meta name=\"description\" content=\"Opera, sisterhood, and the Met's patented "whaddya want me to do about it?" man-shrug\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/20\/norma-not-lie-believing-women\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Norma Does Not Lie: On Believing Women by Alison Kinney\" \/>\n<meta property=\"og:description\" content=\"October 20, 2017 \u2013   Ten years ago, the first time I saw Vincenzo Bellini\u2019s 1831 opera,\u00a0Norma, at the Met, I noticed one quirky bit of stage business. 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