Editing Vincenzo Bellini (section)

===''Norma'': Milan, December 1831===
[[File:Norma-Bellini-original-1831-cast.jpg|thumb|''Norma'': Donzelli, Grisi, and Pasta, the original cast]]
{{listen|type=music
|title="Casta Diva" from ''Norma''
|filename=Bellini Casta diva par Claudia Muzio.ogg
|description=[[Claudia Muzio]], circa 1936
}}
With ''La sonnambula'' successfully behind them, Bellini and Romani began to consider the subject of the opera for which they had been contracted by the Crivelli group for a December 1831 premiere at La Scala and which would mark Giuditta Pasta's debut at that house. By the summer, they had decided upon ''[[Norma (opera)|Norma, ossia L'Infanticidio]]'' which was based on the play of the same name, ''Norma, or The [[Infanticide]]'' by [[Alexandre Soumet]] which was being performed in Paris at around that time and which Pasta would have seen.

For the roles of Adalgisa and Pollione, La Scala had engaged [[Giulia Grisi]], the sister of Giuditta, and the well-known tenor [[Domenico Donzelli]], who had made a name for himself with Rossini roles, especially that of Otello. He provided Bellini with precise details of his vocal capabilities which were confirmed by a report which 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>
Pasta's vocal and dramatic ranges were extensive: that March, she had created the very different Bellini role of Amina, the Swiss village maiden, in ''La sonnambula''.

As the year progressed, several things appeared which began to disturb the composer. Firstly, an outbreak of cholera had occurred in Austria in July, and concern about its spread to Italy was real, to the point that, by late September, Bellini was writing to Florimo: "I am composing the opera without any real zeal because I am almost certain that the cholera will arrive in time to close the theatres; but as soon it threatens to come near, I'll leave Milan."<ref name=WEIN101>Bellini to Florimo, 27(?) September 1831, in {{harvnb|Weinstock|1971|p=101}}</ref>

About this time he had received an offer to compose for the [[Teatro di San Carlo]] in Naples and, in return, had imposed some harsh terms, totally objecting to the English soprano Marianna Lewis, "a donna who is below mediocrity: does not know how to sing, is a sausage on stage&nbsp;..."<ref name=WEIN101/> He continues by stressing the need for a good tenor were he to come to Naples and, in a separate letter to be forwarded by Florimo, tells Principe di Ruffano, then the superintendent of the royal theatres, that he doubts that Barbaja would even agree to the fee already offered to him by La Scala, a total of 2,400 ducati, when he would want 3,000 ducati from Naples for all the additional expenses which he would incur.<ref name=RUFF>Bellini to Count di Ruffano, 19 September 1831, in {{harvnb|Weinstock|1971|p=102}}</ref> In a post script, Bellini adds an indignant objection to what he has heard about the proposed casting of ''Capuleti'' in Naples. It is clear that he regards Barbaja as an enemy.<ref name=RUFF/>

''Norma'' was completed by about the end of November. Bellini then had to deal with the issue of piracy in regard to vocal reductions for piano of ''La sonnambula'' as published by [[Casa Ricordi]]. These scores were then fully orchestrated and sold to unsuspecting opera houses as full orchestral scores. This illegal action caused Bellini to publish a notice in major Italian newspapers putting such "pirates" on notice, but Weinstock comments that such attempts to control were not likely to succeed until Italian unification provided laws applicable to the country as a whole.<ref name="Weinstock 1971, p. 104">{{harvnb|Weinstock|1971|p=104}}</ref>

After rehearsals began on 5 December, Pasta baulked at singing the ''Casta diva'' in act 1, now one of the most famous [[aria]]s of the nineteenth century. She felt that it was "ill adapted to her vocal abilities",<ref>Sherillo, in {{harvnb|Weinstock|1971|p=104}}</ref> but Bellini was able to persuade her to keep trying for a week, after which she adapted to it and confessed her earlier error.<ref name="Weinstock 1971, p. 104"/> At the opening night, the opera was received with what Weinstock describes as "chill indifference".{{sfn|Weinstock|1971|p=105}} To Florimo on the night of the premiere, Bellini wrote "Fiasco! Fiasco! Solemn fiasco!" and proceed to tell him of the indifference of the audience and how it affected him.<ref>Bellini to Florimo, 26 December 1831, in {{harvnb|Weinstock|1971|p=105}}</ref>

In addition, in a letter to his uncle on 28 December, Bellini tries to explain the reasons for the reactions. As other commentators have also noted, some problems were innate to the structure and content of the opera, while others were external to it. Bellini discusses the tiredness of the singers (after rehearing the entire second on the day of the premiere) as well as noting how certain numbers failed to please—and failed to please the composer as well! But then he explains that most of the second act was very effective. It appears from the letter that the second evening's performance was more successful. Among the external reasons, Bellini cites the adverse reaction caused by the attitudes of both the owner of a journal (and his [[claque]]) and also of "a very rich woman"—who Weinstock identifies as Contessa Giulia Samoyloff— who was Pacini's mistress. He also notes that on this second evening, the theatre was full.<ref>Bellini to Vincenzo Ferlito, 28 December 1831, in {{harvnb|Weinstock|1971|p=106}}</ref>

In all, ''Norma'' was given 39 performances in its first season at La Scala, and reports from elsewhere, especially those from Bergamo when performances were given there in late 1832, suggested that it was becoming more and more popular. Bellini left Milan for Naples, and then Sicily, on 5 January 1832, but for the first time since 1827, it was a year in which he did not write an opera.{{sfn|Weinstock|1971|pp=107–108}}