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“Edita Gruberová waited until 2006 to sing Norma on stage for the first time. In this production from Munich she is revealed as the greatest Norma of today. Her singing and acting bring out the complete portrait of the guiltridden priestess, trapped between her sense of duty to her religion and country, and the sickening prospect of losing her lover and her children. Gruberová brings a lifetime's experience of singing bel canto opera and caresses Bellini's vocal lines with many subtle touches.
Almost entirely absent is that mannerism of sliding between notes which has marred some of her singing in the past. Every phrase is moulded with the feeling and reticence of a great artist.
Jürgen Rose, in total control of the production – stage direction, lighting, costumes and sets – succeeds where many have failed in the past.
The action seems to be taking place in the aftermath of some terrible conflict. The middle-eastern costumes suggest the Iraq war, but the whole concept is more ambitious than merely to rely on familiar signs. Norma's tribe seems to have returned to its ancient religion as a refuge from the surrounding chaos. The semi-abstract sets are beautiful, the costumes simple. The priestesses' hands are stained with symbolic woad.
The men carry machine guns and wear black woollen masks. Norma's dwelling is an underground bunker.
Sonia Ganassi makes a sympathetic Adalgisa, and she and Gruberová sing both the great duets with exquisite tenderness. There is a touching moment when Adalgisa first confesses her love and Norma removes the girl's veil, as if to free her from her vows. Zoran Todorovich is a charismatic and virile Pollione. In the first act his singing seems rather over-loud at moments, but he is a fine actor and rises to the challenge of the final scene, where Gruberová begins 'In mia man' while he is bound to the altar with ropes.
Roberto Scandiuzzi makes the most of the somewhat ungrateful part of Oroveso. He too is very moving in the closing ensemble, as he forgives Norma and agrees to care for her children.
Friedrich Haider conducts the Munich forces with fine urgency and an impeccable understanding of the grand sweep of this notoriously tricky work. The whole undertaking is a triumph for all concerned, above all Gruberová and Jürgen Rose.” Gramophone Classical Music Guide, 2010

“Edita Gruberová… is revealed as the great Norma of today. Her singing and acting bring out the complete portrait of the guilt-ridden priestess, trapped between her sense of duty to her religion and country, and the sickening prospect of losing her lover and her children. Jürgen Rose, in total control of the production - stage direction, lighting, costumes and sets - succeeds where many have failed in the past. The semi-abstract sets are beautiful, the costumes simple. Friedrich Haider conducts the Munich forces with fine urgency and an impeccable understanding of the grand sweep of this notoriously tricky work. The whole undertaking is a triumph for all concerned...” Gramophone Magazine, June 2007

“A pretty-picture version of this ingratiating opera, with a strong performance from Francisco Araiza, but Edita Gruberova as Manon looks far too doll-like and sings in piping tones. Just charm, with little pathos.” BBC Music Magazine, April 2007 ***

“Not to be missed.” New York Times

“It is truly memorable, with Pavarotti a Bacchus-like figure in the orgy scene...He acts the part of the Count as believably as if the latter's philosophy was his very own, and he sings gloriously throughout. But Ingar Wixell's magnificently powerful Rigoletto still dominates the narrative...The production is traditional in the best sense; costumes are colourful, sets believable.” Penguin Guide, 2010 edition ****

“One of Böhm's last operatic assignments, he accompanies his fine cast with huge wisdom. Gruberova and Talvela are outstanding. August Everding's production, adventurous for 1980, is now a delight to look at.” BBC Music Magazine, October 2005

“the performance has a winning glow, with an excellent cast of soloists. Edita Gruberova as Konstanze is at her freshest...[Grist's Blonde] is a charming and characterful assumption, most of all when confronting the powerful Osmin of Martii Tavela” Penguin Guide, 2011 edition