The purposes of this book are straightforward: to provide a biographical and cultural context for Bellini's Norma, to examine its artistic qualities, and to suggest something of the impression it has made on our imaginations and sensibilities in the 165 years since it was first produced in Milan in December 1831. From time to time I have felt entitled to open up my discussion a little to embrace Bellini's work more generally, particularly in presenting some of the critical reactions to his music. For Bellini's career was short; his reputation rests entirely upon his ten operas; and Norma, by common consent his finest achievement, represents his genius more comprehensively than is usually the case with any single work by an operatic composer.

I should perhaps make it clear that the book contains neither analysis nor theory as those terms are currently understood in academic circles. I was tempted (though to tell the truth not very tempted) to invite contributions in those modes. On reflection, however, it seemed that a unity and clarity to match the subject would best be achieved by writing the whole thing myself. Besides, while my indebtedness to other scholars is considerable and will be apparent to the reader, I found too many aspects of Norma interested me to wish to let them go. Unless otherwise indicated, all translations are my own.

I am grateful to the University of Edinburgh and particularly to my colleagues in the Faculty of Music for enabling me to take a term's sabbatical leave in 1994.