Norma (opera) V.Bellini - (Casta diva)

This interpretation of Norma achieved its definitive direction only after thorough study of the Gallic, Celtic and Roman traditions linked to the myths of nature, which suggested unexpected cultural parallels.Felice Romani's choices are based on exocitism and on the particular fascination that magic and pagan rites exercised on nineteenth-century audiences. In the Celtic culture the conception of time was regulated by the phases of the moon, patron of fecundity. All knowledge and secrets were prerogative of the Druids while the woods were places of divine presence. In particular trees like the oak were considered sacred; they were "the visible presence of the divinity". The caste of the Druids also included women, who attimes took an oath of chastity. Strong spirituality, belief in reincarnnation, and social structures linked to rigid castes have made it possible to create a special link with oriental culture, especially the socalled Tibetan Buddhism. In this context we can rediscover the serenity of re-acquiring millenary symbols that are wholly positive and free of intrinsic politic values like the swastika. This symbol, whose origins can be traced back to the Neolithic age, is a symbol of fortune, of good omen and of becoming better. it was impressed in the heart of Buddha and is thus also known as the "Seal of the Heart" and can be seen in India, Africa, South America, China and Europe.
This then is how this edition of Norma humbly seeks to stir curiosity, to delve, to astonish but without any violence, vulgarity or, worse still, any political double meanings.

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