Acceso usuarios
La Vestale and Norma, both inspired by the recovery of the classical world in the first decades of the 19th century, belong to a growing cultural phenomenon which extends a neoclassical taste from the Napoleonic age to a properly romantic aesthetics. The image of antiquity recreated on the stage by Spontini draws on the composer’s original political ideal, and, in this way, he assigns his ‘objective’ to the Librettist, even if his reconstruction is ultimately based on historical and archaeological ‘curiosities’. Norma is different in this respect, it being deeply influenced by Felice Romani’s broad classical education, whose culture is fully assimilated by Bellini’s special sensibility. This is clearly illustrated in the roles of the individual ‘parts’ and in the specific choice for catharsis in the final scene of the opera.
