<<  -- 5 --  Roderic Dunnett    VERGING ON LONDON STANDARDS

As Act II unfolded, Babajanyan established herself more and more successfully as the classic post-Seneca, post-Racine heroine Bellini's Norma is. Her body language was strong, her moves assured, her authority established. Dorset's 'Guerra' choruses were strong, the low brass spot in tune, and Bellini's extraordinarily prophetic key shifts (if authentic, then so much more interesting than Rossini, one sensed) -- notably one extraordinary flute-topped adjustment that could be pure Rheingold -- raised things to a new level. Babajanyan was now in true Callas mode : an utterly credible heroine.

There was the odd drawback. Babajanyan as Norma occasionally needed more coaxing from the pit, and though Itaborahy's Pollione -- tuning problems shelved -- had a truly terrific final temple scene (their duet was riveting) the direction still left much to be desired. Howard Lloyd's more than successful designs -- lit in a clutch of red, purples, greens and turquoises -- came to a splendid head with the dramatic closing scene. And here Shelley nursed his principals from initial duet through the interventions of Oroveso (Milanov now on much better form), building via full blown chorus to deliver a truly thrilling finale.

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