''I realize,'' Mr. Serban said, ''that in the libretto, Adalgisa disappears after 'Mira, o Norma,' '' the second big duet, ''but I am basing this on the fact that the most delicate, sensuous music is given to the women. Pollione has nothing like this; one can treat him as a violator, a conqueror, a rapist. Both the Adalgisa/Pollione and the Norma/Pollione duets are violent; Bellini's sympathy is with the women, together.''
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