Utah Opera's current production of Norma features a strong women. Not only does this pagan priestess of the Druids' war god interpret and deliver the military strategy to the Druid generals and waiting warriors, she rings the gong that sends men into battle!
As the opera smokes towards a climax, it becomes clear that Norma is delivering war strategy based on her feelings towards her flame, a general in the attacking Roman army, and that she pays precious little attention to the war god. When she and Pollione are on good terms, peace reigns. When he ticks her off, "Roman blood shall run in the rivers".
Bellini created this role at a time, 19th century, when Western Europe became newly interested in ancient societies like the Druids. The program notes tell us: "England and Wales experienced a new fascination with the Druids and ancient societies that held national and cultural pride." Many of these societies, it turns out, did have matriarchal power structures, although the Druids was not one. "The notion of a formidable sacred feminine figure supports an emerging 19th century belief that many pre-historic societies were, in fact, matriarchies." And what an intriguing idea that would have been for those societies.
I liked the opera's drama between the priestess and her acolyte, Adalgisa. These two women have an interesting series of movements toward and away from intimacy with one another, which I felt very compelled by, since it was devoid of the rather pathetic romance that characterizes that same dance between the romantic leads of any opera. Between the women it was clear they wanted attachment and meaningful relationship, but didn't know when to trust, when to strike out boldly alone, when to rely on another.
The other strong woman on my mind this weekend is Dido. One might assume she came to mind after Norma because both women fling themselves upon a flaming funeral pyre our of love for a warrior husband... but no, I hadn't made that connection at all until just a few moments ago.
The story actually begins at Office Depot. When I went to Office Depot to get some printing done for school, the song "Clocks" by Coldplay came on. It had been a long, long time since I'd heard Coldplay. I resolved to listen to a lot of Coldplay this weekend (a resolution which I kept, at the peril of my phone battery yesterday and ability to call a Lyft to get home from the opera).
Coldplay brings me back to high school, so this afternoon I decided to listen to another artist I listened to incessantly in high school - Dido. Particularly, the album "Life for Rent".
In one song, "Don't Leave Home", the speaker speaks tenderly to a lover in a way that also sets off all kinds of red flags - this woman is a controller.
Oh don't leave home
When I've been here for just one day
You'll already miss me if I go away
So close the blinds and shut the door
You won't need other friends anymore
As the song goes she gets more candid about how she intends to use her power - it's as if she knows her object, by this point, couldn't extract themselves if they wanted to.
The "little" before "me" is taunting- as if you needn't be afraid of course, since I'm just this "little" thing ...that has now taken over your life.
Strong women, Dido, Norma, and others, are frightening. Would the world really be better if women were in charge? Maybe after a while, once all the resentment of past ills done us were handled in some kind of massive, collective 12-step inspired process...
Bellini created this role at a time, 19th century, when Western Europe became newly interested in ancient societies like the Druids. The program notes tell us: "England and Wales experienced a new fascination with the Druids and ancient societies that held national and cultural pride." Many of these societies, it turns out, did have matriarchal power structures, although the Druids was not one. "The notion of a formidable sacred feminine figure supports an emerging 19th century belief that many pre-historic societies were, in fact, matriarchies." And what an intriguing idea that would have been for those societies.
I liked the opera's drama between the priestess and her acolyte, Adalgisa. These two women have an interesting series of movements toward and away from intimacy with one another, which I felt very compelled by, since it was devoid of the rather pathetic romance that characterizes that same dance between the romantic leads of any opera. Between the women it was clear they wanted attachment and meaningful relationship, but didn't know when to trust, when to strike out boldly alone, when to rely on another.
The other strong woman on my mind this weekend is Dido. One might assume she came to mind after Norma because both women fling themselves upon a flaming funeral pyre our of love for a warrior husband... but no, I hadn't made that connection at all until just a few moments ago.
The story actually begins at Office Depot. When I went to Office Depot to get some printing done for school, the song "Clocks" by Coldplay came on. It had been a long, long time since I'd heard Coldplay. I resolved to listen to a lot of Coldplay this weekend (a resolution which I kept, at the peril of my phone battery yesterday and ability to call a Lyft to get home from the opera).
Coldplay brings me back to high school, so this afternoon I decided to listen to another artist I listened to incessantly in high school - Dido. Particularly, the album "Life for Rent".
In one song, "Don't Leave Home", the speaker speaks tenderly to a lover in a way that also sets off all kinds of red flags - this woman is a controller.
Look at the chorus, where she promises:
If you're cold I'll keep you warm
If you're low just hold on
Cause I will be your safety
If you're low just hold on
Cause I will be your safety
But then in the last line, forebodingly counsels,
Oh don't leave home
She knows her spell is potent immediately - that she has ensnared her prey right away:
When I've been here for just one day
You'll already miss me if I go away
So close the blinds and shut the door
You won't need other friends anymore
Oh don't leave home, oh don't leave home
As the song goes she gets more candid about how she intends to use her power - it's as if she knows her object, by this point, couldn't extract themselves if they wanted to.
I arrived when you were weak
I'll make you weaker, like a child
Now all your love you give to me
I'll make you weaker, like a child
Now all your love you give to me
When your heart is all I need
Oh don't leave home, oh don't leave home
The "quiet" of the last verse is haunting. The quiet of having shut every other person out of the object's life. Friends are gone, no one is there to witness and stop the "bad romance" as Lady Gaga (another powerful woman) would say.
Oh how quiet, quiet the world can be
When it's just you and little me
Everything is clear and everything is new
So you won't be leaving will you
When it's just you and little me
Everything is clear and everything is new
So you won't be leaving will you
The "little" before "me" is taunting- as if you needn't be afraid of course, since I'm just this "little" thing ...that has now taken over your life.
Strong women, Dido, Norma, and others, are frightening. Would the world really be better if women were in charge? Maybe after a while, once all the resentment of past ills done us were handled in some kind of massive, collective 12-step inspired process...
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