Editing Norma (opera) (section)

== Composition history ==
[[File:Felice Romani-younger.jpg|thumb|upright|Librettist Felice&nbsp;Romani]]
[[File:Giuditta Pasta as Norma 1831.jpg|thumb|upright|Giuditta Pasta, for whom the role of Norma was created]]
Crivelli and Company were managing both La Scala and [[La Fenice]] in Venice, and as a result, in April–May 1830 Bellini was able to negotiate a contract with them for two operas, one at each theatre. The opera for December 1831 at La Scala became ''Norma'', while the one for the 1832 Carnival season at La Fenice became ''[[Beatrice di Tenda]]''.{{sfn|Weinstock|1971|p=89}}

With Bellini's ''[[La sonnambula]]'' successfully staged in March 1831 and [[Giuditta Pasta]] having demonstrated her extensive vocal and dramatic ranges in creating the role of Amina, the Swiss village maiden, she had been engaged by La Scala for her debut during the following season. Bellini and Romani then began to consider the subject of the coming autumn's opera. By the summer, they had decided to base it on Alexandre Soumet's play which was being performed in Paris at around that time and which Pasta would have seen.

For the forthcoming autumn/winter season, La Scala had engaged [[Giulia Grisi]] (the sister of [[Giuditta Grisi]]) and the well-known tenor [[Domenico Donzelli]], who had made a name for himself with Rossini roles, especially that of Otello. They would fill the roles of Adalgisa and Pollione. Donzelli provided Bellini with precise details of his vocal capabilities which were confirmed by a report which the Neapolitan composer [[Saverio Mercadante]] also provided. By the end of August it appears that Romani had completed a considerable amount of the libretto, enough at least to allow Bellini to begin work, which he certainly did in the first weeks of September as the verses were supplied.{{sfn|Weinstock|1971|p=100}} He reported in a letter to Pasta on 1 September:

<blockquote>I hope that you will find this subject to your liking. Romani believes it to be very effective, and precisely because of the all-inclusive character for you, which is that of Norma. He will manipulate the situations so that they will not resemble other subjects at all, and he will retouch, even change, the characters to produce more effect, if need be.<ref>Bellini to Pasta, 1 September 1831, in {{harvnb|Weinstock|1971|p=100}}</ref></blockquote>

''Norma'' was completed by about the end of November. While, for Romani, it became "the most beautiful rose in the garland" of all his work with Bellini,<ref>Romani, in {{harvnb|Kimbell|2001|p=51}}</ref> it was not achieved without some struggles. Bellini, now at the height of his powers, was very demanding of his librettist and required many re-writes before he was satisfied enough to set it to music.<ref name=KIMB />