Decades of waiting—yes, literal decades—had gone by without Norma being staged in the most iconic theatre of the Italian repertoire. You can imagine my reaction when, in May 2024, I jumped out of my seat as soon as I saw the name Norma appear in the unveiling of La Scala’s 2024/2025 season. A legendary opera, in the most legendary of houses… To do it justice, it would need a six-star cast and a bold, intelligent staging. Otherwise, who knows—maybe we’d have to wait another 50 years before Norma returned to Milan.

Well, gentlemen and ladies, they did it.

Everyone knows Marina Rebeka for her breathtaking vocal colors and artistry. And it was the Latvian soprano who was entrusted with the title role. Alongside her? None other than Freddie De Tommaso, who after conquering both houses in Vienna, landed in Milan for a month-long residency, earning the admiration and love of one of the most demanding and passionate audiences in the opera world.

To round out this dream cast: Michele Pertusi, with his rich, commanding voice, a true master of Italian dramatic roles; Vasilisa Berzhanskaya, making a welcome return to La Scala after her Season 24/25 triumph as Preziosilla; Laura Lolita Perešivana and Paolo Antognetti added elegance and vocal finesse to a stellar ensemble.

What a night, my friends. What a night.

One hour after the show at the radio, I had already convinced my colleague Vinicius to book a ticket and join me for the next night’s performance. That’s how immediate and powerful the experience was.

Let’s start with one of the most important aspects of the evening: the staging. Olivier Py’s direction was dark, powerful, and striking—reminding me of the Don Carlo production from 2023 that I adored. Costumes were simple yet elegant, infused with a sense of danger. The chorus—ominous and otherworldly—played a central visual and emotional role throughout the performance.

And then… the duo: Rebeka / De Tommaso.

Once again, I’m struck by how lucky we are, as mere fans of music, to live in an era with artists of this calibre gracing international stages. De Tommaso, not even 35 years old, singing Pollione at La Scala—how do you top that? It’s hard to know if even he realizes the magnitude of this moment. He has the makings of a true successor to legends like Del Monaco or Domingo.

As for Marina Rebeka… she was extraordinary. I lack the adjectives in English to describe the performance she gave. If you speak French, come find me—I’ve got a full arsenal of words to describe just how radiant, powerful, and commanding she was. Her stage presence was unmatched. Her curtain call? An endless standing ovation. She’s one of those rare artists who makes people like me cross borders, spend nights on trains, and log over 2,000 kilometers in 24 hours—just to see her shine.

Vasilisa Berzhanskaya… might just have stolen the show. After dazzling in La forza del destino in December, she returned last night with fire and grace. She won the audience over entirely, her performance a triumph of artistry.

Michele Pertusi, what more can I say about someone I’ve followed for 20 years? He was impeccable, as always. Commanding, precise, effortless.

Finally, Olivier Py’s direction—despite being visually captivating and conceptually layered—did lead to some confusion among the audience. There were quite a few elements on stage that felt unnecessary or cryptic, but the overall vision still delivered a compelling visual experience.

CAST

Norma
Marina Rebeka

Pollione
Freddie De Tommaso

Adalgisa
Vasilisa Berzhanskaya

Oroveso
Michele Pertusi

Flavio
Paolo Antognetti

CREW

Stage director
Olivier Py

Conductor
Fabio Luisi