By Janelle Gelfand
The Cincinnati Enquirer

Bellini's melodious masterpiece Norma is daunting; the precedent of names such as Maria Callas and Joan Sutherland in the taxing title role is nearly impossible to follow.

You could say that without a great Norma, you have no opera. Cincinnati Opera brought back Norma on Thursday after a 20-year absence, with soprano Lauren Flanigan singing her first Druid priestess.

Flanigan, who is known for her considerable acting ability, has tackled a wide range of repertoire, but never before the bel canto masterpiece of the ages. Although her brave attempt brought the crowd of 2,715 to its feet, it was hard to ignore the vocal flaws and pitch problems that resulted in Bellini's treacherous passages of coloratura and high-flying roulades.

Yet, even with the static, stand-and-sing direction by Nicholas Muni, it was worthwhile to hear Bellini's music. As Norma - the Druid priestess who loves and has children by the enemy Roman proconsul Pollione, but loses him to temple virgin Adalgisa - Flanigan was joined by a fine cast, particularly mezzo-soprano Kristine Jepson, whose performance of Adalgisa was virtually flawless.

Designer John Conklin set the scene amid massive stone temple walls, lunar eclipses, a huge descending shield with the face of Druid god Irminsul and a burnt forest.

Flanigan's presence was often compelling: her recitatives had a range of expression, and she possesses the stamina. But she struggled through "Casta diva," her prayer to the goddess of the moon, and had problems sustaining a high pianissimo. The ensuing cabaletta, "Ah! bello, a me ritorna," lacked lightness and agility, and grew shrill in the high register.

She was more confident in Act II, as she cuddled her children (Annie Gordon and Nicholas Callahan) and in her powerful duet with the shackled Pollione (Dario Volonte). Her final plea to her father for her children had shattering emotion.

Jepson made a poignant Adalgisa, and captured the bel canto style with effortless control and rich color. She projected youthful rapture as she described her first encounter with Pollione, and anguish as she begged Norma for forgiveness.

She was the inspiring force in duets. Unfortunately, her first-act duo with Flanigan, with its cadenza of parallel thirds, ended a full tone flat. The opera's show-stopping duet, "Mira, o Norma," their Act II pledge of friendship, was more successful.

Volonte, as Pollione, projected an expressive tenor, although his acting was stilted. Dean Peterson was a dignified Oroveso (Norma's father). Kathryn Hart (Clotilde) and Ji Hoon Kim (Flavio) dispatched their smaller roles well.

The singing of the chorus of Druids, wearing drab gray and given little to do, was fuzzy in Act I, but the Act II war hymn, "Guerra, guerra!" came off well.

Despite some rocky moments between stage and pit, conductor Marco Zambelli whipped up atmosphere in the orchestra.

E-mail jgelfand@enquirer.com