Arts & Entertainment
A spellbinding priestess
Angela Meade’s ‘Norma’ proves she’s up to the task

Rising operatic star Angela Meade takes on the titular role of Vincenzo Bellini’s operatic masterpiece ‘Norma.’ (Photo by Scott Suchman)
‘Norma’
Until March 24
Kennedy Center Opera House
2700 F St., NW
Tickets: $25-$300
202-467-4600
kennedy-center.org
As Angela Meade, star of Washington National Opera’s new production of “Norma,” stepped onstage Saturday night, a palpable tension hovered over the opera house. The Druid high priestess is the role of a lifetime, and Meade was standing in the historic shadow of the greats who made this character their own — Maria Callas and Joan Sutherland spring most readily to mind. Yet from Meade’s first commanding lines to a ravishing pianissimo, she quickly demonstrated that this was to be a night to remember.
DC Theater audiences are the first to see Meade in a full production of the opera, and while one can make minor quibbles (coloratura could be more fluid, a little more vocal fire would have been nice and that pianissimo was a touch overused), she just might become the next great Norma. Her acting skills, both vocal and physical, drew the audience into rapture during the most intimate moments, whether contemplating killing her own children or taking to the pyre in an act of defiant truth.
The rising star soprano was well served by an impactful production created by theater and opera director Anne Bogart (a lesbian). A raked stage was flanked by two structures — one the organic wooden temple of the Druid priestesses and the other the cold, patriarchal fortress of the invading Romans. Between them was a sunken circle, a sacred ground invoked by Norma and others as sanctuary and emotional crucible.
Norma ends up in a complicated love triangle with the Roman general Pollione (Puerto Rican tenor Rafael Davila) and a lower-level acolyte Adalgisa (legendary American mezzo-soprano Dolora Zajick). The 60-year-old Zajick confidently commanded the dramatic and vocal line of the unwitting rival, and she let fly a few delicate high notes that one didn’t think possible for a mezzo. Some of the compositional peaks of the opera include two duets for the women, whose voices were a perfect blend, alternately evoking gentle ripples of water and torrents of emotional heartbreak.
Although “Norma” relies ultimately on its women, the men are represented strongly in two principal roles and a chorus of Druid warriors (well sung by the WNO chorus). Norma’s father and chief priest Oroveso, as sung by Russian bass Dmitry Belosselskiy, was an austerely commanding presence with a deeply resonant bass possessed of heroic overtones. His spear-shaking rage, however, was touchingly softened at the opera’s end upon hearing the pleas of his ruined daughter. Belosselskiy’s acting here was none of the fist-biting nonsense that has become the stuff of opera parody; he was a man broken open by unforeseen circumstances.
The frat-boy Pollione is no easy sell, and while Davila bestowed the fickle general with human complexity, he came up short shrift vocally. Phrasing was splendidly Italianate, but his tone sounded congested, with top notes muddled as if he were singing under water. Part of what elevates the end of act one into a heart-throbbing climax is a heroic tenor who rails against Norma, yet here, he was just a whiney schoolboy.
Twenty-nine year-old Italian conductor Daniele Rustioni made his WNO debut on Saturday night and his was an exciting reading of a score many consider moldering. From the first notes, he firmly established the tension of the evening to come and the frenetic emotions of its leading characters were often reflected in the quick and crisp tempos of the orchestra. The players sounded spot-on, with a perfect balance amongst themselves and with the singers. As with Meade, Rustioni glossed over some elements that will probably iron themselves out with the passage of time (certain dramatic moments ask for a longer hold, drawing out the pathos of a confession or desperate entreaty).
The greatest benchmark for any performing artist’s work is when the piece itself becomes exalted and with this production of “Norma,” Bellini’s masterwork soared high on a wave of well-deserved adulation. One hopes that under the new artistic directorship of Francesca Zambello (who stood at the doors of the opera house on Saturday night graciously welcoming patrons) next season promises similarly thrilling nights at the opera.
Italy
Olympics Pride House ‘really important for the community’
Italy lags behind other European countries in terms of LGBTQ rights
The four Italian advocacy groups behind the Milan Cortina Winter Olympics’ Pride House hope to use the games to highlight the lack of LGBTQ rights in their country.
Arcigay, CIG Arcigay Milano, Milano Pride, and Pride Sport Milano organized the Pride House that is located in Milan’s MEET Digital Culture Center. The Washington Blade on Feb. 5 interviewed Pride House Project Manager Joseph Naklé.
Naklé in 2020 founded Peacox Basket Milano, Italy’s only LGBTQ basketball team. He also carried the Olympic torch through Milan shortly before he spoke with the Blade. (“Heated Rivalry” stars Hudson Williams and Connor Storrie last month participated in the torch relay in Feltre, a town in Italy’s Veneto region.)
Naklé said the promotion of LGBTQ rights in Italy is “actually our main objective.”
ILGA-Europe in its Rainbow Map 2025 notes same-sex couples lack full marriage rights in Italy, and the country’s hate crimes law does not include sexual orientation or gender identity. Italy does ban discrimination based on sexual orientation in employment, but the country’s nondiscrimination laws do not include gender identity.
ILGA-Europe has made the following recommendations “in order to improve the legal and policy situation of LGBTI people in Italy.”
• Marriage equality for same-sex couples
• Depathologization of trans identities
• Automatic co-parent recognition available for all couples
“We are not really known to be the most openly LGBT-friendly country,” Naklé told the Blade. “That’s why it (Pride House) was really important for the community.”
“We want to use the Olympic games — because there is a big media attention — and we want to use this media attention to raise the voice,” he added.

Naklé noted Pride House will host “talks and roundtables every night” during the games that will focus on a variety of topics that include transgender and nonbinary people in sports and AI. Another will focus on what Naklé described to the Blade as “the importance of political movements now to fight for our rights, especially in places such as Italy or the U.S. where we are going backwards, and not forwards.”
Seven LGBTQ Olympians — Italian swimmer Alex Di Giorgio, Canadian ice dancers Paul Poirier and Kaitlyn Weaver, Canadian figure skater Eric Radford, Spanish figure skater Javier Raya, Scottish ice dancer Lewis Gibson, and Irish field hockey and cricket player Nikki Symmons — are scheduled to participate in Pride House’s Out and Proud event on Feb. 14.
Pride House Los Angeles – West Hollywood representatives are expected to speak at Pride House on Feb. 21.
The event will include a screening of Mariano Furlani’s documentary about Pride House and LGBTQ inclusion in sports. The MiX International LGBTQ+ Film and Queer Culture Festival will screen later this year in Milan. Pride House Los Angeles – West Hollywood is also planning to show the film during the 2028 Summer Olympics.
Naklé also noted Pride House has launched an initiative that allows LGBTQ sports teams to partner with teams whose members are either migrants from African and Islamic countries or people with disabilities.
“The objective is to show that sports is the bridge between these communities,” he said.
Bisexual US skier wins gold
Naklé spoke with the Blade a day before the games opened. The Milan Cortina Winter Olympics will close on Feb. 22.
More than 40 openly LGBTQ athletes are competing in the games.
Breezy Johnson, an American alpine skier who identifies as bisexual, on Sunday won a gold medal in the women’s downhill. Amber Glenn, who identifies as bisexual and pansexual, on the same day helped the U.S. win a gold medal in team figure skating.
Glenn said she received threats on social media after she told reporters during a pre-Olympics press conference that LGBTQ Americans are having a “hard time” with the Trump-Vance administration in the White House. The Associated Press notes Glenn wore a Pride pin on her jacket during Sunday’s medal ceremony.
“I was disappointed because I’ve never had so many people wish me harm before, just for being me and speaking about being decent — human rights and decency,” said Glenn, according to the AP. “So that was really disappointing, and I do think it kind of lowered that excitement for this.”
Puerto Rico
Bad Bunny shares Super Bowl stage with Ricky Martin, Lady Gaga
Puerto Rican activist celebrates half time show
Bad Bunny on Sunday shared the stage with Ricky Martin and Lady Gaga at the Super Bowl halftime show in Santa Clara, Calif.
Martin came out as gay in 2010. Gaga, who headlined the 2017 Super Bowl halftime show, is bisexual. Bad Bunny has championed LGBTQ rights in his native Puerto Rico and elsewhere.
“Not only was a sophisticated political statement, but it was a celebration of who we are as Puerto Ricans,” Pedro Julio Serrano, president of the LGBTQ+ Federation of Puerto Rico, told the Washington Blade on Monday. “That includes us as LGBTQ+ people by including a ground-breaking superstar and legend, Ricky Martin singing an anti-colonial anthem and showcasing Young Miko, an up-and-coming star at La Casita. And, of course, having queer icon Lady Gaga sing salsa was the cherry on the top.”
La Casita is a house that Bad Bunny included in his residency in San Juan, the Puerto Rican capital, last year. He recreated it during the halftime show.
“His performance brought us together as Puerto Ricans, as Latin Americans, as Americans (from the Americas) and as human beings,” said Serrano. “He embraced his own words by showcasing, through his performance, that the ‘only thing more powerful than hate is love.’”
Drag artists perform for crowds in towns across Virginia. The photographer follows Gerryatrick, Shenandoah, Climaxx, Emerald Envy among others over eight months as they perform at venues in the Virginia towns of Staunton, Harrisonburg and Fredericksburg.
(Washington Blade photos by Landon Shackelford)



















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