The choice is dictated not only by the elements of sure theatrical effect already present in the drama - historical setting in Gaul of the Roman era, two rival women in love, a betrayed vow, an infanticide only ventilated (in the operatic version), a cathartic ending with the sacrifice of Norma and Pollione reunited in death - but also by the incredible vocal cast that Bellini can count on for that season.

At its debut, on 26 December 1831, Norma sees two female voices of primary greatness brought together on stage: the soprano Giulia Grisi in the role of Adalgisa, the young minister of the temple who is Norma's unwitting rival, and Giuditta Pasta, the first woman with an amazing voice capable of ranging from the contralto to the soprano tessitura, in the role of the proud priestess of the druids betrayed by Pollione.

After the initial lukewarm reception, Norma will become one of the most beloved operas of the nineteenth century, both for its very long and enchanting melodies and for its extraordinary moments of declamation power, much admired even by illustrious colleagues such as Rossini, Verdi and Wagner.