{"id":4461,"date":"2023-10-03T13:05:46","date_gmt":"2023-10-03T13:05:46","guid":{"rendered":"https:\/\/operapaskaret.se\/?page_id=4461"},"modified":"2024-08-30T08:32:36","modified_gmt":"2024-08-30T08:32:36","slug":"norma","status":"publish","type":"page","link":"https:\/\/operapaskaret.se\/en\/norma\/","title":{"rendered":"Norma"},"content":{"rendered":"

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27th july \u2013 25th august 2024<\/p>\n

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“As enchantingly beautiful as it is frighteningly dark in the fateful norma at sk\u00e4ret”<\/span><\/h2>\n

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That is how a quote from the newspaper Nya Wermlands-Tidningen reads in its review of Norma, this year\u2019s summer opera at Sk\u00e4ret. Two singing teams premiered during the last weekend in July, and this is what the critics thought.<\/p>\n

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“With the second premiere cast, the gold nuggets are found in the scenes with the Ukrainian soprano Alina Tkachuk in the title role, seamlessly accompanied by the Sk\u00e4ret orchestra under conductor Michael Balke. She sings the opera’s hit, the aria ‘Casta diva,’ when Norma invokes the moon goddess, tenderly and lyrically shimmering. Her crystal-clear silver voice intertwines with Adalgisa\u2019s \u2013 the Colombian Andrea Ni\u00f1o\u2019s \u2013 warm mezzo-soprano in duets of empathetic sisterhood. Then Sk\u00e4ret offers real bel canto, richly expressive singing to enjoy.” – Svenska Dagbladet<\/span><\/div>\n
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“It\u2019s not surprising that this role is considered one of the most demanding in opera literature, both vocally and dramatically. The Serbian soprano Sonja \u0160ari\u0107 takes on the task with honour, handling the abrupt emotional shifts of Norma\u2019s conflicting feelings and performing across her entire vocal range. ‘Casta Diva,’ this famous aria inevitably associated with Maria Callas, is sung introspectively and tenderly with a deep, rich timbre.” – Nerikes Allehanda<\/span><\/div>\n
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“In the opera’s most famous aria, the peace prayer ‘Casta Diva,’ Sonja \u0160ari\u0107, who sings the title role in Saturday’s premiere, receives well-deserved applause and bravos.” – Nya Wermlands-Tidningen<\/span><\/span><\/div>\n
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\u00a0“…it is with a marvelous legato that \u0160ari\u0107 impacts the listeners; a care for the emotional content of the melody, and Bellini absolutely piles up fragments and fully developed songs in everything from snappy marches to soft cantilenas. There are spectacular diminuendos and crescendos \u2013 yes, a voice control in the larger lines that one seldom hears even as an experienced opera-goer. The same confidence and ease characterize the German mezzo Anna Werle (Adalgisa), who also adds the best acting ability on stage. It is during some scenes between these ladies that Sk\u00e4ret\u2019s summer opera truly sparks this year.” – Falu-Kuriren<\/p>\n

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“Werle and \u0160ari\u0107 create the women\u2019s Norma” – Falu-Kuriren<\/p>\n

\u201cThe scenographer Sven \u00d6stberg has been involved in many productions here, but this time I think it was particularly effective.” – Nerikes Allehanda<\/p>\n

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“It is the great female roles that are particularly memorable and of the highest class in Norma at Sk\u00e4ret.” – Nerikes Allehanda<\/span><\/p>\n

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“Pollione is sung this evening by Vitaliy Kovalchuk. His tenor is a powerful laser beam.” – Nerikes Allehanda<\/span><\/p>\n

“…there and in many other places, the orchestra under Michael Balke is captivating” – Falu-Kuriren<\/p>\n<\/div>\n

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[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ disabled_on=”off|off|off” module_id=”medverkande” _builder_version=”4.25.1″ _module_preset=”default” background_color=”RGBA(255,255,255,0)” locked=”off” global_colors_info=”{}”][et_pb_row column_structure=”1_2,1_2″ disabled_on=”off|off|off” _builder_version=”4.23.1″ _module_preset=”default” custom_padding=”0px|||||” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.19.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.25.1″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

Solists<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.25.1″ _module_preset=”default” text_font_size=”18px” text_line_height=”2em” custom_padding=”||0px|||” global_colors_info=”{}”]Norma<\/strong> – Sonja \u0160ari\u0107<\/a> \/ Alina Tkachuk<\/a>
\nPollione – <\/strong>Nutthaporn Thammathi<\/a> \/ Vitaliy Kovalchuk<\/a>
\nAdalgisa<\/strong> – Anna Werle<\/a> \/ Andrea Ni\u00f1o<\/a>
\nOroveso<\/strong> – Tyler Putnam<\/a> \/ Petri Lindroos<\/a>
\nClotilde – <\/strong>Mathilda Bryngelsson<\/a>
\nFlavio – <\/strong>Chan Young Kim<\/a>[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.19.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.25.1″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

Artistic Production<\/h4>\n

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Direction<\/strong> – Alexander Niclasson<\/a>
Conductor<\/strong>\u00a0– Michael Balke<\/a>
Set design and costume concept<\/strong> – Sven \u00d6stberg<\/a>
Costume<\/strong>\u00a0– Tina Carina Akkaya<\/a>
Wig and make up<\/strong>\u00a0– Stephanie Metzner<\/a>
Light design<\/strong> – Maria Ros<\/a>
Repetiteur<\/strong> – Bengt-\u00c5ke Lundin<\/a>
Repetiteur<\/strong>\u00a0– Samuel Sk\u00f6nberg<\/a>
Choir Master<\/strong> – Jonatan L\u00f6nnqvist<\/a>
Choir Repetiteur<\/strong>\u00a0– Mats Johansson<\/a><\/p>\n

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27th july, 3rd aug, 8th aug, 11th aug, 17th aug, 24th aug<\/strong><\/p>\n

Norma \u2013 Sonja \u0160ari\u0107
Pollione \u2013 Vitaliy Kovalchuk
Adalgisa \u2013 Anna Werle
Oroveso \u2013 Petri Lindroos
Clotilde \u2013 Mathilda Bryngelsson
Flavio \u2013 Chan Young Kim<\/p>\n<\/div>\n

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28th juli, 4th aug, 10th aug, 15th aug, 18th aug, 25th aug<\/strong><\/p>\n

Norma \u2013 Alina Tkachuk
Pollione \u2013 Nutthaporn Thammathi
Adalgisa \u2013 Andrea Ni\u00f1o
Oroveso \u2013 Tyler Putnam
Clotilde \u2013 Mathilda Bryngelsson
Flavio \u2013 Chan Young Kim<\/p>\n<\/div>\n<\/div>\n

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Opera p\u00e5 Sk\u00e4ret’s Orchestra<\/strong>
Opera p\u00e5 Sk\u00e4ret’s Choir<\/strong><\/p>\n

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27th july \u2013 25th august 2024
F\u00f6rest\u00e4llningsl\u00e4ngd:<\/strong> 3 timmar inkl. en paus p\u00e5 45 minuter.<\/p>\n

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Norma<\/h3>\n

Here at Opera p\u00e5 Sk\u00e4ret, music composed by Vincenzo Bellini will be heard for the first time. With Bellini’s “Norma,” Opera p\u00e5 Sk\u00e4ret tackles a gripping portrayal of women with connections that feel relevant even in our time.<\/p>\n

Norma, rooted in the Italian bel canto tradition, is Vincenzo Bellini’s most performed opera. Like no other, Bellini, also known as the master of beautiful melodies, expresses emotions with such intensity and beauty. Norma is perhaps precisely for this reason an opera that offers several well-known arias, including “Casta Diva,” one of Maria Callas’s great showpieces.<\/p>\n

Norma had its world premiere in 1831 at La Scala opera house in Milan and has since been part of the repertoire of many major opera houses. This summer, it will be performed in one of the world’s most unique opera houses, a former sawmill located by the shore of a vast lake, now famous for its acoustics.<\/p>\n

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about the direction<\/span>
<\/span><\/span>This year, it was finally time to stage one of Vincenzo Bellini’s operas at Opera p\u00e5 Sk\u00e4ret. Since Norma is one of my favorite operas, the choice of work was easy. It is also easy to be seduced by Bellini’s enchanting music, which I experienced at the age of 14 when I bought my first recording of Norma with Maria Callas and Franco Corelli in the lead roles. The art of singing is undoubtedly the focus of this masterpiece, but that does not make it any less scenically interesting.<\/span><\/p>\n
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The libretto by Felice Romani is dramatically exciting and offers us opportunities for interpretation. The same goes for Bellini’s stage directions in the score. Some things are very clear, while others are left to us successors to interpret. I have chosen to set the action in the century A.D. as the creators intended. This is mainly because I am convinced that the primary task of the director is to do justice to the musical-dramatic works and not try to outdo the creators. The possibilities for variation are still endless with that approach.<\/p>\n

In working with the text, I was fascinated by how the Gauls’ worship of the god Irminsul infiltrates their approach to all aspects of life. A strong religious conviction is quite foreign to today\u2019s secularized generation now living in Sweden. But for the Gauls, according to Felice Romani, religion was in the very centre of their society and way of life, aand I have emphasized that. The Gauls’ anger towards the occupying superpower Rome can easily be overshadowed by the strong love triangle, but for me, it is so central to the work that I simply must highlight it. As occupying military powers have behaved in all historical events of humanity, the Romans scare their subjugated with strongly organized military power and meaningless violence against the occupied population. In the opera Norma, the Gaulish population does not remain silent. The Gaulish anger is tangible, and when it gets free rein in the second act, it adds weight to Norma’s desperately exposed situation. Never has a character in an opera had more weight on their shoulders than Norma.<\/p>\n

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Alexander Niclasson
Director & Artistic Leader<\/p>\n

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ABOUT THE MUSIC<\/h3>\n

Bellini\u2019s Norma stands as a crowning achievement of the belcanto opera era, celebrated for its intricate musical tapestry and emotional depth. At its core, the opera exemplifies his mastery in blending lyrical beauty with dramatic intensity, creating a captivating narrative driven by its rhythmic pulse and dynamic contrasts.<\/p>\n

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From a conductor’s standpoint, Norma presents a rich canvas of musical dramaturgy. The opera’s rhythmic vitality propels the narrative forward and underscores the emotional nuances of its characters. Instrumental solos, prominently featuring the flute, play a crucial role, intertwining with the vocal lines, creating intimate dialogues, and establishing a profound interaction between instruments and singers.<\/p>\n

The opera\u2019s iconic aria \u201cCasta Diva\u201d exemplifies Bellini\u2019s ability to marry technical virtuosity with expressive lyricism. This aria, sung by Norma as a prayer to the moon goddess, showcases Bellini\u2019s gift for crafting melodies that soar effortlessly, supported by delicate orchestration that evokes a serene, otherworldly atmosphere. The orchestral palette enhances the aria\u2019s ethereal quality, setting it apart as a quintessential moment in the belcanto repertoire. Throughout Norma, the chorus plays a pivotal role, not merely as a backdrop but as an integral part of the opera\u2019s narrative and emotional landscape. Bellini\u2019s choral writing ranges from sublime hymns of the Druids to stirring calls to arms, each contributing to the opera\u2019s dramatic arc and thematic depth. The chorus\u2019s dynamic presence underscores the opera\u2019s societal conflicts and personal dilemmas, amplifying the emotional impact of key scenes.\u00a0<\/p>\n

The 1830s was a period of rich musical innovation and stylistic diversity. In opera, the belcanto tradition reached its zenith with composers like Bellini, Donizetti, and Rossini, whose works emphasized expressive singing and virtuosic vocal techniques. This decade also saw a shift towards more psychologically complex storytelling in music, laying the groundwork for later romantic operas. Norma, premiering in 1831, encapsulates the essence of bel canto while foreshadowing these trends with its emotional depth and structural innovations.\u00a0<\/p>\n

Other significant compositions of the 1830s further underscore the decade\u2019s importance in music history. Hector Berlioz\u2019s Symphonie fantastique (1830) introduced groundbreaking orchestration and programmatic storytelling. Fr\u00e9d\u00e9ric Chopin composed many of his beloved piano works, including an \u00c9tude that directly quotes a cello melody from Norma. Other important works of this time include Mendelssohn\u2019s 3rd Symphony (\u201cScottish\u201d), Donizetti\u2019s Anna Bolena, and Rossini\u2019s last opera Guillaume Tell. These works highlight the vibrant and transformative nature of the 1830s, a period marked by profound advancements in musical expression and form.<\/p>\n

Michael Balke
Conductor<\/p>\n

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[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ disabled_on=”off|off|off” module_id=”scenografi” _builder_version=”4.27.0″ _module_preset=”default” background_color=”RGBA(255,255,255,0)” locked=”off” global_colors_info=”{}”][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/operapaskaret.se\/wp-content\/uploads\/2024\/07\/\u00a9photographer_andreas-hylthen-9027-1024×564.jpeg” title_text=”\u00a9photographer_andreas hylthen-9027″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

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about the set design<\/h3>\n
The foundation of the drama in Norma consists of three ingredients: an occupied society, an occupying power, and a complicated and dangerous love situation. This drama has played out countless times in history and in countless places. It is probably occurring somewhere even now.<\/span>\u00a0<\/div>\n
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[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

The creators of Norma set the action in Gaul around the year 100. They had good reasons for this. They wanted to avoid interference from contemporary censorship. No one could accuse them of commenting on the current political situation.<\/span><\/p>\n

The opera’s libretto says nothing about the physical surroundings, and we really do not know much about what Gaul looked like in the year 100. In such a situation, one must rely on the scenographer’s imagination. The scenographer simply has to imagine something that could be accepted as Gaul almost 2,000 years ago.<\/p>\n

The Gauls were led by druids both politically and religiously. The religion of the Gauls was closely tied to nature. For example, whether to revolt against the Romans or not was decided by the appearance of the moon and what the cut mistletoe branch revealed. Therefore, the drama takes place in and around the Gauls’ sacred grove.<\/p>\n

At the centre of the sacred grove is a very large and ancient tree. The tree is as old as Gallic society. It is also in equally poor condition. Just as the occupied Gauls try to hold together their society, which is poorly managed by the Romans, they try to hold the large tree together. There in the sacred grove, the Romans, who stay behind the dark forest silhouette, make regular raids.<\/p>\n

Sven \u00d6stberg
Set Design & Costume Concept<\/p>\n

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[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ disabled_on=”off|off|off” module_id=”kostym” _builder_version=”4.27.0″ _module_preset=”default” background_color=”#ECECEC” locked=”off” global_colors_info=”{}”][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/operapaskaret.se\/wp-content\/uploads\/2024\/07\/\u00a9photographer_andreas-hylthen-8034-1024×651.jpg” title_text=”\u00a9photographer_andreas hylthen-8034″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

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ABOUT THE COSTUME DESIGN<\/h3>\n

In the production of Norma, we have worked with a fantasy style. Nothing is historically accurate. We wanted to create great contrasts between the different characters. The Gauls, who live in the forest under great oppression from the Romans, have made their own costumes out of what they have found: sticks, bark, leather, fur, and various metal objects from their raiding expeditions.<\/p>\n

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[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

Flavio and the Roman soldiers can be distinguished from afar with their beautiful uniforms in leather and metal in the colours black, burgundy, and bronze. They are as ruthless and cruel as they are striking. The most powerful of them all, the high priest Orveso, commands great respect, which is reflected in the costume he wears. A brocade costume with beautiful patterns and details in fur and gold.<\/p>\n

The main character, Norma, also holds a high status. She is a high priestess, and this is reflected in her white ceremonial robe in satin and fur with a collar decorated with pearls and silver.<\/p>\n

Norma offers a story with great drama, and the costumes are designed to emphasize this.<\/p>\n

Tina Carina Akkaya
Costume Designer, Costume Studio Manager & Tailor<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ disabled_on=”off|off|off” module_id=”maskperuk” _builder_version=”4.27.0″ _module_preset=”default” background_color=”RGBA(255,255,255,0)” locked=”off” global_colors_info=”{}”][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/operapaskaret.se\/wp-content\/uploads\/2024\/07\/\u00a9photographer_andreas-hylthen-9003-1024×683.jpeg” title_text=”\u00a9photographer_andreas hylthen-9003″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

ABOUT MAKEUP & WIG<\/h3>\n

\n

What are the character traits of a role? How does the role develop throughout the performance? How can I underscore or amplify existing individuals\u2019 expressions? These are the questions I ask myself when designing a singer\u2019s look.<\/p>\n

What are the character traits of a role? How does the role develop throughout the performance? How can I underscore or amplify existing individuals\u2019 expressions? These are the questions I ask myself when designing a singer\u2019s look.\u00a0<\/span><\/p>\n

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[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

At an early stage, it became clear that the expression we have wanted to achieve in Norma was a mixture between a fantasy and a historical one. Another thing that became clear rather early was that the limits for how far we could go were almost non-existing. Having no frames can be rather fun, but also rather challenging.<\/p>\n

Another challenging part in this production, that takes place in a very natural environment, is the humidity. For example, certain hair styles must stay as they are supposed to in every weather condition, same goes for make-up.<\/p>\n

Quite an important aspect for me personally in the process of creating is of course the music. I listen to the music while creating, I attend the rehearsals to watch how the singers move and use their faces. I work closely with the singers since it is important that they can identify themselves with the expressions and styles we are creating together. Only then the looks work their magic on stage and the audience perceive the performance as more genuine.\u00a0<\/p>\n

\n

Stephanie Metzner
Makeup & Wig<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ disabled_on=”off|off|off” module_id=”ljus” _builder_version=”4.27.0″ _module_preset=”default” background_color=”#ECECEC” locked=”off” global_colors_info=”{}”][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/operapaskaret.se\/wp-content\/uploads\/2024\/07\/\u00a9photographer_andreas-hylthen-8059-1024×584.jpg” title_text=”\u00a9photographer_andreas hylthen-8059″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

ABOUT THE LIGHTING DESIGN<\/span><\/h2>\n
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Working as a lighting designer in a venue like Opera p\u00e5 Sk\u00e4ret is both a true joy and a significant challenge. It is a space with enormous volume and ceiling height, where light can truly travel and becomes really important. It is also a space completely lacking technical provisions for hanging lights and working with modern lighting design. Each year, a custom theatre machinery is built inside the existing stage room, a complicated and intricate task.<\/span><\/div>\n

<\/span><\/p>\n

<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

In our work with Norma, we have set the entire story in ancient Gaul in a kind of fantasy context. There are some clear light markers, such as it being mostly night throughout the opera, the moon having a central place, and the presence of fire. These are concrete elements that I bring into my work, determining certain conditions and setting the tone and mood for the entire lighting design. The light is what should make everything visible in the way the artistic production team envisioned. I work closely with set design, costume, and makeup design. The light is the common element that should enhance everyone’s work and unify the image into one coherent world and vision. But the component I work most closely with is the music. Light and music are closely connected. The emotional world that the music opens up in us is something I want to enhance and amplify with the light.<\/p>\n

Maria Ros
Lighting Designer & Light Table Operator<\/p>\n

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[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ disabled_on=”on|on|on” admin_label=”FeatureText” _builder_version=”4.23.1″ _module_preset=”default” disabled=”on” locked=”off” global_colors_info=”{}”][et_pb_row column_structure=”1_2,1_2″ disabled_on=”off|off|off” _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.19.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.22.2″ _module_preset=”default” text_orientation=”center” max_width=”750px” module_alignment=”center” global_colors_info=”{}”]<\/p>\n

Opera p\u00e5 Sk\u00e4ret performs Norma summer 2024<\/h3>\n

This will be the first time Opera p\u00e5 Sk\u00e4ret presents a work by Bellini. Ticket sales commence on October 11. <\/span>Read more<\/a><\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.19.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.22.1″ _module_preset=”default” text_orientation=”center” max_width=”750px” module_alignment=”center” global_colors_info=”{}”]<\/p>\n

Audition for professional opera singers<\/h3>\n

Opera p\u00e5 Sk\u00e4ret will stage Bellini\u00b4s Norma in the summer of\u00a0 2024. Auditions are held in Stockholm in November.\u00a0Read more<\/a><\/p>\n

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27th july \u2013 25th august 2024 “As enchantingly beautiful as it is frighteningly dark in the fateful norma at sk\u00e4ret”That is how a quote from the newspaper Nya Wermlands-Tidningen reads in its review of Norma, this year\u2019s summer opera at Sk\u00e4ret. 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