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http://www.nypost.co...ells_222426.htmNovember 28, 2007 -- IN theater, cast replacements can be dodgy things, best to be avoided. But in ballet and opera, they don't really exist - what we have instead are alternative casts. Take the new lineups at the Metropolitan Opera for both Bellini's "Norma" and Mozart's "Le Nozze di Figaro."
Anyone who heard Maria Guleghina's Lady Macbeth last month in Verdi's "Macbeth" might have guessed that Norma, the Druid priestess of Bellini's dramatically awkward but musically glittering opera, would be a perfect fit for this tempestuous Russian soprano.
And they would have been proven right Monday night, when she sang her first New York Norma with bel canto brilliance and an almost blood-curdling gusto.
In much of this repertory, singers are often categorized as either the Callas type or the Sutherland. Given her fiery temperament, Guleghina moves toward the Callas end of the spectrum.
At times, as in the famous aria "Casta Diva," the sheer technical beauty of her singing had more of Sutherland's exquisite phrasing, but in her Medea-like vengeance, she was pure Callas.
The rest of the cast - including Dolora Zajick as an impassive but impressive Adalgisa, Norma's rival for the perfect cad of a Roman general, handsomely sung by Franco Farina - remained unchanged.
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