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Blowfish (cipher)
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Blowfish
General
Designers
Bruce Schneier
First published
1993
Successors
Twofish
Cipher detail
Key sizes
32–448 bits
Block sizes
64 bits
Structure
Feistel network
Rounds
16
Best public cryptanalysis
Four rounds of Blowfish are susceptible to a second-order differential attack (Rijmen, 1997);[1] for a class of weak keys, 14 rounds of Blowfish can be distinguished from a pseudorandom permutation (Vaudenay, 1996).
Blowfish is a symmetric-key block cipher, designed in 1993 by Bruce Schneier and included in a large number of cipher suites and encryption products. Blowfish provides a good encryption rate in software and no effective cryptanalysis of it has been found to date. However, the Advanced Encryption Standard (AES) now receives more attention, and Schneier recommends Twofish for modern applications.[2]
Schneier designed Blowfish as a general-purpose algorithm, intended as an alternative to the aging DES and free of the problems and constraints associated with other algorithms. At the time Blowfish was released, many other designs were proprietary, encumbered by patents or were commercial or government secrets. Schneier has stated that, "Blowfish is unpatented, and will remain so in all countries. The algorithm is hereby placed in the public domain, and can be freely used by anyone."[3]
Notable features of the design include key-dependent S-boxes and a highly complex key schedule.
Contents
[hide]
1 The algorithm
2 Blowfish in pseudocode
3 Blowfish in practice
4 Weakness and successors
5 See also
6 References
7 External links
The algorithm[edit]
Blowfish has a 64-bit block size and a variable key length from 32 bits up to 448 bits.[3] It is a 16-round Feistel cipher and uses large key-dependent S-boxes. In structure it resembles CAST-128, which uses fixed S-boxes.
The Feistel structure of Blowfish
The diagram to the left shows Blowfish's encryption routine. Each line represents 32 bits. There are five subkey-arrays: one 18-entry P-array (denoted as K in the diagram, to avoid confusion with the Plaintext) and four 256-entry S-boxes (S0, S1, S2 and S3).
Every round r consists of 4 actions: First, XOR the left half (L) of the data with the r th P-array entry, second, use the XORed data as input for Blowfish's F-function, third, XOR the F-function's output with the right half (R) of the data, and last, swap L and R.
The F-function splits the 32-bit input into four eight-bit quarters, and uses the quarters as input to the S-boxes. The S-boxes accept 8-bit input and produce 32-bit output. The outputs are added modulo 232 and XORed to produce the final 32-bit output (see image in the upper right corner).[4]
After the 16th round, undo the last swap, and XOR L with K18 and R with K17 (output whitening).
Decryption is exactly the same as encryption, except that P1, P2, …, P18 are used in the reverse order. This is not so obvious because xor is commutative and associative. A common misconception is to use inverse order of encryption as decryption algorithm (i.e. first XORing P17 and P18 to the ciphertext block, then using the P-entries in reverse order).
Blowfish's key schedule starts by initializing the P-array and S-boxes with values derived from the hexadecimal digits of pi, which contain no obvious pattern (see nothing up my sleeve number). The secret key is then, byte by byte, cycling the key if necessary, XORed with all the P-entries in order. A 64-bit all-zero block is then encrypted with the algorithm as it stands. The resultant ciphertext replaces P1 and P2. The same ciphertext is then encrypted again with the new subkeys, and the new ciphertext replaces P3 and P4. This continues, replacing the entire P-array and all the S-box entries. In all, the Blowfish encryption algorithm will run 521 times to generate all the subkeys - about 4KB of data is processed.
Because the P-array is 576 bits long, and the key bytes are XORed through all these 576 bits during the initialization, many implementations support key sizes up to 576 bits. While this is certainly possible, the 448 bits limit is here to ensure that every bit of every subkey depends on every bit of the key,[3] as the last four values of the P-array don't affect every bit of the ciphertext. This point should be taken in consideration for implementations with a different number of rounds, as even though it increases security against an exhaustive attack, it weakens the security guaranteed by the algorithm. And given the slow initialization of the cipher with each change of key, it is granted a natural protection against brute-force attacks, which doesn't really justify key sizes longer than 448 bits.
Blowfish in pseudocode[edit]
uint32_t P[18]; uint32_t S[4][256]; uint32_t f (uint32_t x) { uint32_t h = S[0][x >> 24] + S[1][x >> 16 & 0xff]; return ( h ^ S[2][x >> 8 & 0xff] ) + S[3][x & 0xff]; } void encrypt (uint32_t & L, uint32_t & R) { for (int i=0 ; i<16 ; i += 2) { L ^= P[i]; R ^= f(L); R ^= P[i+1]; L ^= f(R); } L ^= P[16]; R ^= P[17]; swap (L, R); } void decrypt (uint32_t & L, uint32_t & R) { for (int i=16 ; i > 0 ; i -= 2) { L ^= P[i+1]; R ^= f(L); R ^= P[i]; L ^= f(R); } L ^= P[1]; R ^= P[0]; swap (L, R); } { // ... // initializing the P-array and S-boxes with values derived from pi; omitted in the example // ... for (int i=0 ; i<18 ; ++i) P[i] ^= key[i % keylen]; uint32_t L = 0, R = 0; for (int i=0 ; i<18 ; i+=2) { encrypt (L, R); P[i] = L; P[i+1] = R; } for (int i=0 ; i<4 ; ++i) for (int j=0 ; j<256; j+=2) { encrypt (L, R); S[i][j] = L; S[i][j+1] = R; } }
Blowfish in practice[edit]
Blowfish is a fast block cipher, except when changing keys. Each new key requires pre-processing equivalent to encrypting about 4 kilobytes of text, which is very slow compared to other block ciphers. This prevents its use in certain applications, but is not a problem in others.
In one application Blowfish's slow key changing is actually a benefit: the password-hashing method used in OpenBSD uses an algorithm derived from Blowfish that makes use of the slow key schedule; the idea is that the extra computational effort required gives protection against dictionary attacks. See key stretching.
Blowfish has a memory footprint of just over 4 kilobytes of RAM. This constraint is not a problem even for older desktop and laptop computers, though it does prevent use in the smallest embedded systems such as early smartcards.
Blowfish was one of the first secure block ciphers not subject to any patents and therefore freely available for anyone to use. This benefit has contributed to its popularity in cryptographic software.
bcrypt is a password hashing function which, combined with a variable number of iterations (work "cost"), exploits the expensive key setup phase of Blowfish to increase the workload and duration of hash calculations, further reducing threats from brute force attacks.
bcrypt is also the name of a cross-platform file encryption utility implementing Blowfish developed in 2002.[5][6][7][8]
Weakness and successors[edit]
Blowfish's use of a 64-bit block size (as opposed to e.g. AES's 128-bit block size) makes it vulnerable to birthday attacks, particularly in contexts like HTTPS. In 2016, the SWEET32 attack demonstrated how to leverage birthday attacks to perform plaintext recovery (i.e. decrypting ciphertext) against ciphers with a 64-bit block size.[9] The GnuPG project recommends that Blowfish not be used to encrypt files larger than 4 GB[10] due to its small block size.[11]
A reduced-round variant of Blowfish is known to be susceptible to known-plaintext attacks on reflectively weak keys. Blowfish implementations use 16 rounds of encryption, and are not susceptible to this attack.[12][13] Nevertheless, Bruce Schneier has recommended migrating to his Blowfish successor, Twofish.[2]
See also[edit]
Twofish
Threefish
MacGuffin
AES
References[edit]
Jump up ^ Vincent Rijmen (1997). "Cryptanalysis and Design of Iterated Block Ciphers" (PostScript). Ph.D thesis.
^ Jump up to: a b Dahna, McConnachie (2007-12-27). "Bruce Almighty: Schneier preaches security to Linux faithful". Computerworld. p. 3. Archived from the original on 2016-12-02. Retrieved 2018-01-26. At this point, though, I'm amazed it's still being used. If people ask, I recommend Twofish instead.
^ Jump up to: a b c Bruce Schneier (1993). "Description of a New Variable-Length Key, 64-Bit Block Cipher (Blowfish)". Fast Software Encryption, Cambridge Security Workshop Proceedings. Springer-Verlag: 191–204.
Jump up ^ "Cryptography: Description of a New Variable-Length Key, 64-Bit Block Cipher (Blowfish) - Schneier on Security". www.schneier.com. Retrieved 2015-12-31.
Jump up ^ http://bcrypt.sourceforge.net bcrypt file encryption program homepage
Jump up ^ http://bcrypt463065.android.informer.com/
Jump up ^ http://www.t2-project.org/packages/bcrypt.html
Jump up ^ https://docs.oracle.com/cd/E51849_01/gg-winux/OGGLC/ogglc_licenses.htm
Jump up ^ Karthikeyan Bhargavan; Gaëtan Leurent (August 2016). "On the Practical (In-)Security of 64-bit Block Ciphers — Collision Attacks on HTTP over TLS and OpenVPN". ACM CCS 2016.
Jump up ^ "GnuPG Frequently Asked Questions". Archived from the original on 2017-12-21. Retrieved 2018-01-26. Blowfish should not be used to encrypt files larger than 4Gb in size, but Twofish has no such restrictions.
Jump up ^ "GnuPG Frequently Asked Questions". Archived from the original on 2017-12-21. Retrieved 2018-01-27. For a cipher with an eight-byte block size, you’ll probably repeat a block after about 32 gigabytes of data. This means if you encrypt a single message larger than 32 gigabytes, it’s pretty much a statistical guarantee you’ll have a repeated block. That’s bad. For this reason, we recommend you not use ciphers with eight-byte data blocks if you’re going to be doing bulk encryption. It’s very unlikely you’ll have any problems if you keep your messages under 4 gigabytes in size.
Jump up ^ Tom Gonzalez (January 2007). "A Reflection Attack on Blowfish" (PDF). Journal of LATEX Class Files.
Jump up ^ Orhun Kara & Cevat Manap (March 2007). "A New Class of Weak Keys for Blowfish" (PDF). FSE 2007.
External links[edit]
Wikimedia Commons has media related to Blowfish (cipher).
Bruce Schneier. "The Blowfish Encryption Algorithm".
Bruce Schneier. "Products that Use Blowfish".
"Standard Cryptographic Algorithm Naming: Blowfish".
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Norma (opera)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Norma
Opera by Vincenzo Bellini
Domenico Donzelli, Giuditta Pasta,
and Giulia Grisi (original cast)
Librettist
Felice Romani
Language
Italian
Based on
Alexandre Soumet's play Norma, ou L'infanticide
Premiere
26 December 1831 (1831-12-26)
Teatro alla Scala, Milan
Norma (Italian: [ˈnɔrma]) is a tragedia lirica or opera in two acts by Vincenzo Bellini with libretto by Felice Romani after Norma, ou L'infanticide (Norma, or The Infanticide) by Alexandre Soumet. It was first produced at La Scala in Milan on 26 December 1831.
The opera is regarded as a leading example of the bel canto genre, and the soprano prayer Casta diva in Act I is a famous piece. Notable exponents of the title role in the post-war period have been Maria Callas, Joan Sutherland, Montserrat Caballé and, in the 2007, Biondi-Minasi critical edition based on Bellini's autograph score, Cecilia Bartoli.
Contents
[hide]
1 Composition history
2 Performance history
2.1 Premiere performances
2.2 Later revivals
2.3 Modern times
3 Singers in the title role
4 Roles
5 Synopsis
5.1 Act 1
5.1.1 Scene 1: The grove of the Druids
5.1.2 Scene 2: Norma's dwelling
5.2 Act 2
5.2.1 Scene 1: Norma's dwelling
5.2.2 Scene 2: The grove
5.2.3 Scene 3: The temple of Irminsul
6 Music
7 Schopenhauer’s praise
8 Ibsen parody
9 Marion Zimmer Bradley
10 Recordings
11 References
12 External links
Composition history[edit]
Librettist
Felice Romani
Giuditta Pasta
for whom the role of Norma was created
Crivelli and Company were managing both La Scala and La Fenice in Venice, and as a result, in April–May 1830 Bellini was able to negotiate a contract with them for two operas, one at each theatre. The opera for December 1831 at La Scala became Norma and while the one for the 1832 Carnival season at La Fenice became Beatrice di Tenda.[1]
With Bellini's La sonnambula successfully staged in March 1831 and Giuditta Pasta having demonstrated her extensive vocal and dramatic ranges in creating the role of Amina, the Swiss village maiden, she had been engaged by La Scala for her debut during the following season. Bellini and Romani then began to consider the subject of the coming autumn's opera. By the summer, they had decided to base it on Alexandre Soumet's play which was being performed in Paris at around that time and which Pasta would have seen.
For the forthcoming autumn/winter season, La Scala had engaged Giulia Grisi (the sister of Giuditta Grisi) and the well-known tenor Domenico Donzelli, who had made a name for himself with Rossini roles, especially that of Otello. They would fill the roles of Adalgisa and Pollione. Donzelli provided Bellini with precise details of his vocal capabilities which were confirmed by a report which the Neapolitan composer Saverio Mercadante also provided. By the end of August it appears that Romani had completed a considerable amount of the libretto, enough at least to allow Bellini to begin work, which he certainly did in the first weeks of September as the verses were supplied.[2] He reported in a letter to Pasta on 1 September:
I hope that you will find this subject to your liking. Romani believes it to be very effective, and precisely because of the all-inclusive character for you, which is that of Norma. He will manipulate the situations so that they will not resemble other subjects at all, and he will retouch, even change, the characters to produce more effect, if need be.[3]
Norma was completed by about the end of November. While, for Romani, it became "the most beautiful rose in the garland" of all his work with Bellini,[4] it was not achieved without some struggles. Bellini, now at the height of his powers, was very demanding of his librettist and required many re-writes before he was satisfied enough to set it to music.[5]
Performance history[edit]
Norma: Poster advertising the 1831 premiere
Tenor
Domenico Donzelli,
sang Pollione
Giulia Grisi
sang Adalgisa
Bass
Vincenzo Negrini,
sang Oroveso
Malibran in Norma, La Scala 1834
Premiere performances[edit]
After rehearsals began on 5 December, Pasta balked at singing the Casta diva in act 1, now one of the most famous arias of the nineteenth century. She felt that it was "ill adapted to her vocal abilities",[6] but Bellini was able to persuade her to keep trying for a week, after which she adapted to it and confessed her earlier error.[7] At the opening night, the opera was received with what Weinstock describes as "chill indifference".[8] To his friend Francesco Florimo, on the night of the premiere, Bellini wrote "Fiasco! Fiasco! Solemn fiasco!" and proceeded to tell him of the indifference of the audience and how it affected him.[9]
In addition, in a letter to his uncle on 28 December, Bellini tried to explain the reasons for the reactions. As other commentators have also noted, some problems were innate to the structure and content of the opera, while others were external to it. Bellini discusses the tiredness of the singers (after rehearsing the entire second act on the day of the premiere) as well as noting how certain numbers failed to please—and failed to please the composer as well! But then he explains that most of the second act was very effective. It appears from the letter that the second evening's performance was more successful and Weinstock reports it was from this performance forward that it "was recognised as a successful and important opera" with 208 performances given at La Scala alone by the end of the 19th century.[10]
Among the external reasons, Bellini cited the adverse reaction caused by "hostile factions in the audience"[5] consisting of both the owner of a journal (and his claque) and also of "a very rich woman", who is identified by Weinstock as Contessa Giulia Samoyloff, the mistress of the composer Giovanni Pacini. On Bellini's part, there had long been a feeling of rivalry with Pacini ever since the failure of his own Zaira in Parma and his return to Milan in June 1829. With no firm contract for a new opera for Bellini, Pacini's success with his Il Talismano at La Scala—where it received 16 performances—fueled this rivalry, at least in Bellini's head. It was only when he staged a triumphant revival of his own with Il pirata with the original cast that he felt vindicated. Pirata received 24 consecutive performances between 16 July and 23 August 1829, thus outnumbering those for Pacini's opera.[11] However, Bellini also noted that on the second performance evening of Norma, the theatre was full.[12]
In all, Norma was given 34 performances in its first season at La Scala, and reports from elsewhere, especially those from Bergamo, when it was staged in late 1832, suggested that it was becoming more and more popular. Between 1831 and 1850 Weinstock provides details of the dozens of performances given in numerous cities outside of Italy, and then he gives details of those beyond.[13]
Bellini left Milan for Naples, and then Sicily, on 5 January 1832 and, for the first time since 1827, 1832 became a year in which he did not write an opera.[14] Norma quickly "[conquered] the whole of Europe in the space of a few years".[5]
Later revivals[edit]
Richard Wagner conducted Norma at Riga in 1837. Following the common nineteenth-century practice of adding interpolated arias, he wrote an aria for the bass and men's chorus for this production.[15] However, that aria has not entered the general repertoire. Wagner wrote at the time that Norma was "indisputably Bellini's most successful composition".[16] "In this opera, Bellini has undoubtedly risen to the greatest heights of his talent. In these days of romantic extravaganzas and the hyper-excitement of the so-called musical attractions he presents a phenomenon which can hardly be overrated. The action, free from all theatrical coups and dazzling effects, reminds one instinctively of a Greek tragedy. Perhaps the views expressed by Schiller in his 'Bride of Messina' to the effect that he had hopes for the full revival of the tragedy of the ancients upon our stage, in the form of the opera, will receive new justification in this Norma! Let anyone name me a spiritual painting of its kind, more fully carried out, than that of this wild Gaelic prophetess...Every emotional moment stands out plastically; nothing has been vaguely swept together..."[17]
Wagner also praised Romani's libretto:
Here, where the poem rises to the tragic height of the ancient Greeks, this kind of form, which Bellini has certainly ennobled, serves only to increase the solemn and imposing character of the whole; all the phases of passion, which are rendered in so peculiarly clear a light by his art of song, are thereby made to rest upon a majestic soil and ground, above which they do not vaguely flutter about, but resolve themselves into a grand and manifest picture, which involuntarily calls to mind the creations of Gluck and Spontini.[16][18]
The opera was given its British premiere in London on 20 June 1833 and its US premiere at the St. Charles Theatre in New Orleans on 1 April 1836.[19] In the late 1840s and during the Risorgimento era, some of the music was used in demonstrations of nationalistic fervour, one such example being the 1848 celebration of the liberation of Sicily from the rule of the Bourbons held in the cathedral in Palermo. There, the Guerra, guerra (“War, war!”) chorus from act 2 was sung.[5]
Modern times[edit]
During the 20th century, with the bel canto revival, the most prolific Norma was the Greek-American soprano Maria Callas, who gave 89 stage performances (several of which exist on live recordings as well as two on studio versions made in 1954 and 1960). Callas's first appearances in the role began at the Teatro Comunale di Firenze in November/December 1948 followed by the second at the Teatro Colón, Buenos Aires in June 1949, both of which were conducted by Tullio Serafin. The following year, she appeared in the role at La Fenice in Venice in January 1950, this time under Antonino Votto,[20] and in Mexico in May 1950 conducted by Guido Picco. In London in 1952, Callas sang Norma at the Royal Opera House, Covent Garden in November (where the role of Clotilde was sung by Joan Sutherland); she made her American debut singing the role at the Lyric Opera of Chicago in November 1954 under Nicola Rescigno; and then she appeared at the Metropolitan Opera in New York under Fausto Cleva in October/November 1956.[21] In 1960, she performed Norma in the Ancient Theatre of Epidaurus in Greece with the collaboration of the Greek National Opera.
Many other notable sopranos have performed the role, so that in modern times, Norma continues to be quite widely performed. Operabase shows 274 performances of 62 productions in 51 cities given or planned to be given since 1 January 2012.[22]
Singers in the title role[edit]
Giulia Grisi dressed as Norma. In 1831, she also sang the role of Adalgisa
The title role—"one of the most taxing and wide-ranging parts in the entire repertory"[23]—is one of the most difficult in the soprano repertoire. It calls for great vocal control of range, flexibility, and dynamics as well as containing a wide range of emotions: conflict of personal and public life, romantic life, maternal love, friendship, jealousy, murderous intent, and resignation. The German soprano Lilli Lehmann once remarked that the singing of all three Brünnhilde roles of Wagner's opera cycle Der Ring des Nibelungen in one evening would be less stressful than the singing of one Norma.[24] She also commented "When you sing Wagner, you are so carried away by the dramatic emotion, the action, and the scene that you do not have to think how to sing the words. That comes of itself. But in Bellini, you must always have a care for beauty of tone and correct emission."[citation needed]According to the Met Opera Archives Lehmann said this to Herald Tribune critic Henry Krehbiel.
Throughout the 20th century, many singers have taken the role of Norma. In the early 1920s, it was Rosa Raisa, Claudia Muzio, and Rosa Ponselle who were each admired. Maria Callas emerged as a major force in the role in the post-World War II period. She made two studio recordings of the opera for EMI, and several broadcasts of her live performances have been preserved from the early 1950s through her final performances of the role in Paris in 1964.
In the 1960s, two very different performers took the role: the Australian Dame Joan Sutherland and the Turk Leyla Gencer. Following Sutherland's 1964 debut as Norma, Luciano Pavarotti called her "the greatest female voice of all time."[25]
The Dutch coloratura Cristina Deutekom tackled the role in 1970. Throughout the decade, four other bel canto specialists debuted their Normas: Radmila Bakočević, Montserrat Caballé, Beverly Sills, and Renata Scotto. Also singing Norma during this period were Grace Bumbry and Shirley Verrett, the American divas who began as mezzo-sopranos and eventually started singing soprano repertoire.
During the 1980s and 1990s, the role of Norma was performed by such different singers as Katia Ricciarelli, Anna Tomowa-Sintow, Marisa Galvany, Dame Gwyneth Jones, and Jane Eaglen. Other Normas include Hasmik Papian, Fiorenza Cedolins, Galina Gorchakova, Maria Guleghina, Nelly Miricioiu, June Anderson, Edita Gruberová and Carmela Remigio (who performs more frequently the role of Adalgisa).[26]
In 2008, Daniela Dessì performed as Norma at Teatro Comunale di Bologna. In 2010 (in Dortmund)[27] and 2013 (at the Salzburg Festival) the role was taken by mezzo-soprano Cecilia Bartoli: this version was also recorded with coloratura soprano Sumi Jo as Adalgisa.[28] In 2011, Sondra Radvanovsky also added the role to her repertory, one to which she returned in the autumn 2014 at the San Francisco Opera and in the autumn of 2017 at the Metropolitan Opera in New York. On 13 April 2013, the Italian bel canto soprano, Mariella Devia, after a career of 40 years and one day after turning 65, successfully made her debut as Norma at the Teatro Comunale di Bologna.[29][30]
Roles[edit]
Norma-Act 2 finale-Lablache, Giulia Grisi (as Norma), Conti. Her Majesty's Theatre, London 1843
Role
Voice type
Premiere cast,
26 December 1831
(Conductor:
Alessandro Rolla[31])
Norma, daughter of Oroveso,
High-priestess of the Druids soprano Giuditta Pasta
Adalgisa, priestess in the grove of the Irminsul statue mezzo-soprano Giulia Grisi
Pollione, Roman proconsul in Gaul tenor Domenico Donzelli
Oroveso, Norma's father; Chief of the Druids bass Vincenzo Negrini
Clotilde, Norma's friend soprano (today often sung by a mezzo-soprano) Marietta Sacchi
Flavio, Pollione's companion tenor Lorenzo Lombardi
Synopsis[edit]
Place: Gaul
Time: c. 100-50 BC (Roman occupation)
Act 1[edit]
Sinfonia
Scene 1: The grove of the Druids[edit]
"Casta Diva"
Claudia Muzio, circa 1936
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Oroveso leads the Druids in a procession in the forest to pray for victory against the invading Romans: (Oroveso and Druids: Ite sul colle, o Druidi / "Go up on the hill, O Druids. Go and observe the skies and see when the new moon will show her silver crescent"). The Druids pray that Norma will come and have the courage to broker peace with the Romans: (Druids and Oroveso: Dell'aura tua profetica / "With thy prophetic aura, imbue her, O terrible God".) All leave to go to the temple.
Pollione and Flavio enter. Although Norma has secretly broken her vows in order to love him and has borne him two children, Pollione tells Flavio that he no longer loves her, having fallen in love with the priestess Adalgisa. But he expresses some remorse, describing his dream in which Adalgisa was beside him at the altar of Venus and a huge storm arose: (Pollione, aria: Meco all'altar di Venere / "With me at the altar in Rome was Adalgisa dressed in white, veiled all in white.") The storm presaged disaster for them both: "Thus does Norma punish her faithless lover," he declares. They hear the trumpets sounding to announce Norma's arrival. Flavio urges his friend to leave, but Pollione stands firm, proclaiming that he will confront them with a superior power and overthrow their altars: (Cabaletta: Me protegge, me difende / "I am protected and defended by a power greater than theirs / I am inspired by the thought of the one I love ...")
As Norma leads the Druids and Priestesses, the crowd proclaims: Norma viene / "Norma is coming" and, as Oroveso awaits her, they describe her dress and manner. All kneel as she approaches. "The time is not ripe for our revenge," she declares, stating that Rome will perish one day by being worn down. Then, with the mistletoe in hand, she approaches the altar with a plea to the moon (the"Chaste Goddess"): (cavatina: Casta diva / "Chaste goddess ... turn upon us thy fair face, unclouded and unveiled"). Continuing, she pleads that the goddess shed upon earth that peace which she has created in heaven. She calls for all to complete the rites and then clear the uninitiated from the grove. To herself, she declares that she cannot hurt Pollione, but desires that things return to where they used to be: (Cabaletta: Ah! bello a me ritorna / "Return to me, O beautiful one, as in the bloom of our true love"). The assembled crowd accepts her cautious approach, and all leave the grove.
Later that night: The Temple of Irminsul in the grove
Adalgisa prays at the temple, remembering with some sorrow how she became involved with Pollione. He enters, telling her that she prays to a cruel god and is not trying to invoke the god of love. While she appears to reject him, he declares (Aria: Va crudele /"Go, O cruel one, to your god: make an offering of my blood") but he is convinced that he cannot leave her; he is distraught, but she is equally torn, until the moment when he declares that he must return to Rome the following day. He begs Adalgisa to go with him: (Duet: Pollione, then Adalgisa, then together: Vieni in Roma / "Come to Rome, my darling; Love and joy and life are there"). She resists him, but finally appears to agree that they will leave together the following day.
Scene 2: Norma's dwelling[edit]
Alessandro Sanquirico's set design for act. 1, sc. 2 for the original production
Norma appears to be upset and orders her maid, Clotilde, to take the two children away from her, expressing very conflicted feelings about them. She tells Clotilde that Pollione has been recalled to Rome, but does not know if he will take her or how he feels about leaving his children. As Adalgisa approaches, the children are taken away.
Adalgisa tells Norma she has fallen in love with a Roman, whom she does not name. As she describes how she fell in love while waiting at the temple and seeing "his handsome face" appear, Norma recalls (as an aside) her own feelings for Pollione ("my passions, too, burned like this"), and more and more, their experiences of falling in love run parallel: (Norma and Adalgisa, duet: Sola, furtiva al tempio / "Often I would wait for him, At the temple, alone and in secret"). Adalgisa pleads for help and forgiveness, and Norma pledges that she will do that and will also free her from her vows as a priestess: (Norma: Ah! sì, fa core, abbracciami, Perdono e ti compiango / "Yes, take heart, embrace me. I forgive you, and sympathise with you". Adalgisa: Ripeti, o ciel, ripetimi / "Say that again, heavens, say again, Such wonderful words: Through you my long suffering is calmed.")
Norma asks Adalgisa to describe the man whom she loves. Responding, she tells her that he is a Roman, and, at that moment, turns to indicate that it is Pollione who is just then entering the room. As Norma furiously turns to confront Pollione, Adalgisa is confused: Norma: Oh! non tremare, o perfido, per lei. Essa non è colpevole, Il malfattor tu sei / "O faithless man, Do not tremble for her. She is not guilty, You are the wicked one."
Forcing the priestess to realise that she is the victim of a huge deception, Norma addresses Adalgisa. (Trio: each sings in succession, beginning with Norma: Oh! di qual sei tu vittima / "Oh, you are the victim of such a bitter, deadly deception. It would have been better to die, than to know this man!"; then Adalgisa: Oh! qual traspare orribile, Dal tuo parlar mistero / "Your mysterious words, reveal such horror"; then the two women together, followed by Pollione alone: Norma! de' tuoi rimproveri, segno non farmi adesso / "Norma, do not reproach me now", continuing with "Please give this wretched girl some respite"; after which all three repeat their words, singing at first singly, then together.)
There follow angry exchanges among the three, Norma declaring Pollione to be a traitor; he trying to persuade Adalgisa to leave with him; and she angrily telling him to go away. When he declares that it is his fate to leave Norma, she encourages the young priestess to go with him, but the latter declares that she would rather die. Norma then demands that her lover go, leaving behind his children—and his honour. (Finale: brief duet, Adalgisa and Pollione: he declares his love, and she her desire to Norma not to be the cause of grief to her. Trio: Norma continues to rage at Pollione, Adalgisa repeats her desire to make him return to Norma, and Pollione curses the day when he met Norma.) Then the sound of the Druids calling Norma to the temple is heard. They report that the angry god, Irminsul, has spoken. Pollione storms out.
Act 2[edit]
Orchestral introduction
Scene 1: Norma's dwelling[edit]
Norma looks at both of her sons, who are asleep. She considers killing them. Advancing towards them with knife upraised, she hesitates. (Recitative: Dormono entrambi ... non vedran la mano che li percuote / "They are both asleep ... they shall not see the hand which strikes them.") But she cannot bring herself to do it: (Aria: Teneri, teneri figli, Essi, pur dianzi delizia mia / "My dear, dear sons; a moment ago they were my delight, in their smiles, I thought I saw the forgiveness of heaven.") The children wake up and she calls for Clotilde, demanding that Adalgisa be brought to her.
The young priestess enters, concerned at how pale Norma looks. Norma makes her swear to do everything she asks and, upon her agreement, tells her that she is entrusting the two children to her care and states that they should be taken to the Roman camp to their father Pollione, a man whom she hopes will make a better mate for Adalgisa than he was for her. Adalgisa is aghast. Norma: "I beg you for his children's sake." (Duet, first Norma: Deh! con te, con te li prendi, Li sostieni, li difendi / "Please, take them with you, support them and protect them; I don't ask you for honour or power, let that be kept for your own children.") Adalgisa tells her that she'll never leave Gaul and only agreed to the request in order to do what was good for Norma. (Duet, Adalgisa: Vado al campo, ed all'ingrato Tutti io reco i tuoi lamenti.) In the duet, Adalgisa agrees to go to the Roman camp and tell Pollione of Norma's grief but her hope is to persuade him to return to Norma. She then renounces Pollione: (Duet: Mira, o Norma / "O Norma, look at your dear children of yours on your knees. Be moved by pity for them, even if you have no pity for yourself.") They sing together, each expressing her own thoughts and feelings until Norma realises that Adalgisa will give up Pollione and remain with her: (Cabaletta: Duet, Norma and Adalgisa: Si fino all'ore estreme, compagna tua m'avrai / "Yes, you will have me as your friend until your last hour; the world is large enough to be a shelter to both of us together.")
Scene 2: The grove[edit]
The Druid warriors gather and prepare themselves to attack the Romans. Oroveso enters with news from the gods: the time has not arrived to strike. Somewhat frustrated, the soldiers accept the decision.
Scene 3: The temple of Irminsul[edit]
Norma enters. (Aria: Ei tornerà. Si, mia fidanza è posta in Adalgisa / "He will come back. Yes, I place my trust in Adalgisa: he will come back repentant, imploring, full of love.") Then Clotilde arrives with news that Adalgisa has failed to persuade Pollione to return. Although Norma questions whether she should have trusted her, she then learns from her servant that Adalgisa is returning and wishes to take her vows at the altar and that the Roman has sworn to abduct her from the temple. In anger, Norma strikes a gong-like shield as a summons to war. Trumpets sound and Oroveso and the Druids all rush in, demanding to know what is happening. They hear Norma's answer and the soldiers take up the refrain: Guerra, guerra! / "War, war!", while Norma proclaims "Blood, blood! Revenge!"
In order for Norma to complete the rites to authorise going to war, Oroveso demands to know who will be the sacrificial victim. At that moment, Clotilde rushes in to announce that a Roman has desecrated the temple, but that he has been apprehended. It is Pollione who is led in, and Norma is urged to take the sacrificial knife to stab him but, approaching him, she is unable to perform the deed. The assembled crowd demands to know why, but she dismisses them, stating that she needs to question her victim.
The crowd departs: (Duet, Norma and Pollione: In mia man alfin tu sei / "At last you are in my hands; no one can cut your bonds. I can"). Norma demands that he forever shun Adalgisa; only then will she release him and never see him again. He refuses, and she vents her anger by telling him that she will then kill her children. "Strike me instead", he demands, "so that only I alone will die", but she quickly asserts that not only will all the Romans die, but so will Adalgisa, who has broken her vows as a priestess. This prompts him to plead for her life. (Cabaletta: Norma and Pollione: Già mi pasco ne' tuoi sguardi / "Already I take pleasure in the look you give me, your grief and in her death; at last I can make you as miserable as I".) When Pollione demands the knife, she calls the priests to assemble. Norma announces that it would be better to sacrifice a priestess who has broken her vows, and orders the pyre to be lit. Oroveso demands to know who is to be sacrificed while Pollione demands that she keep silent, but Norma then reveals that it is she who is to be the victim because she is the guilty one, a high Priestess who has broken her vows, has become involved with the enemy, and has borne his children. (Aria, Norma to Pollione: Qual cor tradisti / "May this awful moment now show you the heart you betrayed and lost"; Duet: Norma and Pollione; Ensemble, Norma, Oroveso, Pollione, Druids, Priests: each expresses his/her sorrow, anger, pleas to Norma, with Oroveso learning for the first time that Norma is a mother.)
In the concerted finale, Norma pleads with Oroveso to spare her children (Deh! non volerli vittime / "Please don't make them suffer"). As she prepares to leap into the flames, the re-enamoured Pollione joins her, declaring "your pyre is mine as well. There, a holier and everlasting love will begin".[32]
Music[edit]
It was Giuseppe Verdi who—late in his life—made some perceptive comments in a letter of May 1898 to Camille Belaigue, who had recently published a book on Bellini. In the letter, Verdi states:
Bellini is poor, it is true, in harmony and instrumentation; but rich in feeling and in an individual melancholy of his own! Even in the least well-known of his operas, in La straniera, in Il pirata, there are long, long, long melodies such as no-one before him had produced. And what truth and power of declamation, as for example in the duet between Pollione and Norma! [See act 2, scene 3 above. Norma: In mia man alfin tu sei / "At last you are in my hands"] And what elation of thought in the first phrase of the introduction [to the duet].....no-one ever has created another more beautiful and heavenly.[33]
Therefore, commenting on the overall quality of the music in Norma, David Kimbell states that:
...Bellini's most astonishing achievement in Norma is, amid all the more obvious excitements of musical Romanticism, to have asserted his belief that the true magic of opera depended on a kind of incantation in which dramatic poetry and song are perfectly fused.[34] Additionally, Kimbell provides examples of how the composer's art is revealed in this opera, but also noting that the ability to achieve a "fusion of music and dramatic meaning is to be found elsewhere in Bellini's work"[34]
Schopenhauer’s praise[edit]
Schopenhauer claimed that tragedy causes the spectator to lose the will to live. "The horrors on the stage hold up to him the bitterness and worthlessness of life, and so the vanity of all its efforts and endeavors. The effect of this impression must be that he becomes aware, although only in an obscure feeling, that it is better to tear his heart away from life, to turn his willing away from it, not to love the world and life."[35] He praised Norma for its artistic excellence in producing this effect. "…[T]he genuinely tragic effect of the catastrophe, the hero's resignation and spiritual exaltation produced by it, seldom appear so purely motivated and distinctly expressed as in the opera Norma, where it comes in the duet Qual cor tradisti, qual cor perdesti. [What a heart you betrayed, what a heart you lost.] Here the conversion of the will is clearly indicated by the quietness suddenly introduced into the music. Quite apart from its excellent music, and from the diction that can only be that of a libretto, and considered only according to its motives and to its interior economy, this piece is in general a tragedy of extreme perfection, a true model of the tragic disposition of the motives, of the tragic progress of the action, and of tragic development, together with the effect of these on the frame of mind of the heroes, which surmounts the world. This effect then passes on to the spectator…."[36]
Ibsen parody[edit]
Norma, or A Politician's Love (Danish:Norma eller En Politikers Kjærlighed) is an eight-page drama written as an opera parody by Henrik Ibsen. It is influenced by Bellini's Norma, which Ibsen saw in 1851, but the characters are contemporary politicians. The play was first printed anonymously in the satirical magazine Andhrimner in 1851.[37] The first book edition came in 1909, and the first performance of the play was at a student theatre in Trondheim 1994.
Marion Zimmer Bradley[edit]
Writer Marion Zimmer Bradley acknowledged that the plot of her 1993 Historical Novel/Fantasy book "The Forest House" was based on that of "Norma" – relocated from Gaul to Britain, but sharing the basic plot outline of a love affair between a Druidic priestess and a Roman officer. Bradley further stated that, in homage to Bellini, the hymns in Chapter Five and Twenty-two of her book are adapted from libretto of the opera's Act I Scene i, and those in Chapter Thirty from Act II scene ii[38].
Recordings[edit]
Main article: Norma discography
A performance of music from Norma on harp.
A fantasia performed by Francis J. Lapitino in 1915. Run time is 2 minutes, 22 seconds.
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References[edit]
Notes
Jump up ^ Weinstock 1971, p. 89
Jump up ^ Weinstock 1971, p. 100
Jump up ^ Bellini to Pasta, 1 September 1831, in Weinstock 1971, p. 100
Jump up ^ Romani, in Kimbell 2001, p. 51
^ Jump up to: a b c d Kimbell 2001, in Holden, p. 51
Jump up ^ Sherillo, in Weinstock 1971, p. 104
Jump up ^ Weinstock 1971, p. 104
Jump up ^ Weinstock 1971, p. 105
Jump up ^ Bellini to Florimo, 26 December 1831, in Weinstock 1971, p. 105
Jump up ^ Weinstock 1971, p. 268
Jump up ^ Weinstock 1971, pp. 79–82
Jump up ^ Bellini to Vincenzo Ferlito, 28 December 1831, in Weinstock 1971, p. 106
Jump up ^ Weinstock 1971, pp. 270—275
Jump up ^ Weinstock 1971, pp. 107–108
Jump up ^ Maguire & Forbes, in Sadie, pp. 617–619
^ Jump up to: a b Essay on the opera by Wagner, in Kimbell 2001, p. 51
Jump up ^ Friedlaender, Maryla (February 7, 1944). "What Wagner Thought of Norma". Opera News. p. 5.
Jump up ^ Friedlaender, Maryla (March 22, 1954). "Norma Challenged Richard Wagner". Opera News. p. 32.
Jump up ^ Rutherford 2007, p. 123, n. 77
Jump up ^ Bret 1997, pp. 324–336
Jump up ^ Maguire and Forbes 1998, in Sadie, p. 617
Jump up ^ Performances of Norma since 1 January 2012 and going forward to 2016. However, in contrast, the same database reveals the following over the same time period in regard to performances of La traviata: "2282 performances of 431 productions, in 266 cities".
Jump up ^ Maguire and Forbes 1998, in Sadie, p. 618
Jump up ^ Interview between Edward Downes and Maria Callas. La Divina Complete, CD 4. EMI Classics.
Jump up ^ Midgette, Anne (12 October 2010). "Soprano Joan Sutherland, legendary opera star and bel canto singer, dies at 83". The Washington Post. Retrieved 24 October 2010.
Jump up ^ Dinko Fabris, "La Norma", La Repubblica (in Italian), Bari edition, 25 May 2011, p. 16; Alessandro Cammarano, "Venezia – Teatro La Fenice: Norma", OperaClick (in Italian), 20 May 2015. Remigio also sang the minor role of Clotilde in the Ravenna Festival's 1994 staging conducted by Riccardo Muti and recorded by EMI.
Jump up ^ Alberto Mattioli, Per la superdiva Bartoli un debutto fuori Norma, La Stampa (in Italian), 1 July 2010.
Jump up ^ Joseph Newsome, "Cecilia Bartoli as Norma", in Opera Today, 30 May 2013.
Jump up ^ Jack Buckley, "Mariella Devia's Norma", on Seen and Heard International, 16 April 2013
Jump up ^ Gabriele Cesaretti, "Bologna – Teatro Comunale: Norma", on OperaClick, undated.(in Italian)
Jump up ^ Original libretto, p. 5
Jump up ^ English translation partly taken from 1964 Decca recording with Joan Sutherland as Norma
Jump up ^ Verdi to Camille Belaigue, 2 May 1898, in Weinstock 1971, p. 279
^ Jump up to: a b Kimbell 2001, p. 52
Jump up ^ The World as Will and Representation, volume 2, chapter 37
Jump up ^ The World as Will and Representation, volume 2, chapter 37
Jump up ^ Hanssen, Jens-Morten (10 July 2005). "Facts about Norma". National Library of Norway. Retrieved 13 April 2015.
Jump up ^ Marion Zimmer Bradley, preface to "The Forests of Avalon"
Cited sources
Bret, David (1997), Maria Callas: The Tigress and the Lamb, London: Robson Books Ltd. ISBN 1-86105-257-X
Kimbell, David (2001), "Vincenzo Bellini: Norma" in Holden, Amanda (Ed.), The New Penguin Opera Guide, pp. 46–55. New York: Penguin Putnam. ISBN 0-14-029312-4
Maguire, Simon; Elizabeth Forbes (1998), "Norma" in Stanley Sadie, (Ed.), The New Grove Dictionary of Opera, Vol. Three, pp. 617–619. London: Macmillan Publishers, Inc. ISBN 1-56159-228-5
Rutherford, Susan (2007). "'La cantante delle passioni': Giuditta Pasta and the Idea of Operatic Performance", in Cambridge Opera Journal 19/2, pp. 107–138.
Weinstock, Herbert (1971), Bellini: His life and His Operas, New York: Knopf. ISBN 0-394-41656-2
Other sources
Casa Ricordi (pub.), "Vincenzo Bellini": Outline of his life (in English) and list of critical editions of his works published by Ricordi on ricordi.it. Retrieved 13 December 2013.
Galatopoulos, Stelios (2002), Bellini: Life, Times, Music: 1801–1835. London, Sanctuary Publishing Ltd. ISBN 978-1-86074-405-1
Lippmann, Friedrich; McGuire, Simon (1998), "Bellini, Vincenzo", in Stanley Sadie, (Ed.), The New Grove Dictionary of Opera, Vol. One, pp. 389–397. London: Macmillan Publishers, Inc. ISBN 0-333-73432-7
Osborne, Charles (1994), The Bel Canto Operas of Rossini, Donizetti, and Bellini, Portland, Oregon: Amadeus Press. ISBN 0-931340-71-3
Orrey, Leslie (1973), Bellini (The Master Musicians Series), London: J. M. Dent, Ltd. ISBN 0-460-02137-0
Rosselli, John (1996), The Life of Bellini, New York: Cambridge University Press. ISBN 0-521-46781-0
Rutherford, Susan (2007), "La cantante delle passioni: Giuditta Pasta and the Idea of Operatic Performance", Cambridge Opera Journal, Vol. 19, No. 2, July JSTOR 27607154
Thiellay, Jean; Thiellay, Jean-Philippe, Bellini, Paris: Actes Sud, 2013, ISBN 978-2-330-02377-5 (in French)
Willier, Stephen Ace, Vincenzo Bellini: A Guide to Research. Routledge, 2002. ISBN 0-8153-3805-8
External links[edit]
Wikimedia Commons has media related to Norma (opera).
Norma: Scores at the International Music Score Library Project (IMSLP)
Libretto (in Italian) on opera.stanford.edu
Original libretto (Google Books)
Libretto & details, incl. pages from original score (www.librettidopera.it)
Norma at the Opera Company of Philadelphia
Norma at the Detroit Opera House
Further Norma discography
List of performances of Norma on Operabase.
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Super Bowl LII halftime show
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Super Bowl LII halftime show
Date
February 4, 2018
Location
Minneapolis, Minnesota, U.S.
Venue
U.S. Bank Stadium
Headliner
Justin Timberlake
Sponsor
Pepsi
Director
Hamish Hamilton
Producer
Ricky Kirshner
Super Bowl halftime show chronology
LI
(2017) LII
(2018) LIII
(2019)
The Super Bowl LII Halftime Show (officially known as the Pepsi Super Bowl LII Halftime Show) took place on February 4, 2018 at U.S. Bank Stadium in Minneapolis, Minnesota, as part of Super Bowl LII. Justin Timberlake was the featured performer, as confirmed by the National Football League (NFL) on October 22, 2017.[1] It was televised nationally by NBC.
Contents
[hide]
1 Synopsis
2 Background
3 Development
4 Critical response
5 Commercial reception
6 Setlist
7 See also
8 References
9 External links
Synopsis[edit]
Timberlake with dancers during the halftime performance
Timberlake during halftime show
The show began with Jimmy Fallon introducing Timberlake, followed by a video screen depicting Justin Timberlake performing "Filthy" in a club setting below the field level of the stadium. He then walked up a staircase and appeared on a ramp stage extending outward into the field, descending into a series of stages surrounded by a crowd. Timberlake proceeded to move through the crowd performing "Rock Your Body" with a troupe of female backup dancers, abruptly stopping short of the end of the song and shifting to "Señorita" on a small stage with his backing dancers. Upon reaching the main stage, he performed a number of songs, including "SexyBack", "My Love", and "Cry Me a River", which featured a dance break mid-field. Upon reaching the next stage, Timberlake performed his hit song "Suit & Tie" as the University of Minnesota Marching Band, wearing black tuxedos, played backup instrumentals and marched out to meet him.[2]
The Stadium and the city of Minneapolis were shown to be lit purple during Timberlake's tribute to Prince
Dancers fill the field during Timberlake's performance of "Can't Stop the Feeling!"
Timberlake proceeded to walk up to a white grand piano while performing "Until the End of Time", then segued into "I Would Die 4 U" as a tribute to Minneapolis-native Prince. A video of Prince performing the song played in the background, projected onto on a large multi-story sheet. An aerial shot showed downtown Minneapolis covered in purple lighting that morphed into Prince's trademark Love Symbol, with the stadium at the center. He then returned to the main stage to perform "Mirrors", as hundreds of dancers and members of the marching band performed choreography with large mirrors, creating bright reflections in the broadcast and across the roof of the stadium. Timberlake closed the show with "Can't Stop the Feeling!", entering the stands at the conclusion of the song.[3][4]
For the first time since the Super Bowl XLVI halftime show in Indianapolis in 2012, no pyrotechnics were used throughout the performance. The show relied mostly on lasers and video screens for visual effects.[5]
Background[edit]
Field being set up for Timberlake's performance
In July 2017, multiple media outlets reported that Britney Spears was in talks to perform at Halftime, but Pepsi quickly denied it a few days later. During August and September 2017, several publications informed that Timberlake was the frontrunner to performer at the Super Bowl LII halftime, first along with his frequent-collaborator Jay-Z as co-headliner, and then as the solo performer.[6] A spokesperson from the NFL stated at the time, "along with Pepsi, we know that we will put on a spectacular show. When it is time to announce her name we will do it. Or his name. Or their names."[7] The NFL confirmed the announcement on October 22 with a video starring Timberlake and Jimmy Fallon.[8]
This was Timberlake's third appearance in a Super Bowl halftime show. As a member of NSYNC, Timberlake appeared in the Super Bowl XXXV (2001) halftime show, and as a guest artist in the Super Bowl XXXVIII (2004), which performance featured a controversial incident where Timberlake accidentally exposed one of Janet Jackson's breasts on national television, described as a wardrobe malfunction. The Parents Television Council penned an open letter to Timberlake asking to keep the performance "family-friendly." While the organization acknowledged that Timberlake apologized for the 2004 incident, they asked him to stay true to his word, saying "we are heartened by your response that the events of 2004 are not going to happen in 2018," as the singer stated in a prior interview that "we are not going to do that again."[9]
In an interview with Billboard, Pepsi executives expressed:
We are all big fans of Justin Timberlake. We’ve kind of felt that Justin deserves, and has for a number of years, to be the main artist for the halftime show because previously he wasn’t the main artist. It was just about the timing. To be honest, we have discussed Justin for the last number of years for coming and doing halftime, and this year just felt really right to us. He is hands down one of the greatest entertainers currently alive, it was a no-brainer. We know he’s gonna bring it.[10]
The Halftime Show included a remembrance for Indianapolis Colts linebacker Edwin Jackson, who died just hours before Super Bowl LII after being struck by a vehicle.
Development[edit]
The U.S. Bank Stadium, where Super Bowl and the halftime show was held.
Timberlake performing "Suit & Tie" with the University of Minnesota Marching Band
During the performance, Timberlake wore an outfit designed by Stella McCartney, which consists of "alter nappa fringed jacket with a shirt, featuring a landscape artwork by British artist Martin Ridley," according to a press release. Also part of the look is a Prince of Wales-check and camouflage splatter-print suit and matching jacket. As usual for McCartney, these pieces were made from animal-free leather and organic cotton.[11][12]
Timberlake stated in a press conference that there would be no guest musicians in the halftime show and that the event would focus solely on himself and his backing band, the Tennessee Kids.[13] Regarding the Prince tribute, the performance's creative visual lead, Fireplay's Nick Whitehouse, told Rolling Stone:
Paying tribute to Prince was something JT highlighted as an important moment for this show, and we spent quite a bit of time ensuring this moment would be true to his legacy. Ultimately, Justin decided that the only person who could do Prince justice is Prince. The band held 50-hours worth of rehearsals in preparation for the show.[14]
Prince had previously stated he did not want to be included in new music after death in a 1998 interview, citing The Beatles' "Free as a Bird" as an example of a practice he considered to be "demonic." His family granted permission to use Prince's likeness on the condition that it not be used in a hologram, and they approved of the final result.[15][2] Sheila E, a former bandmate of Prince's who was involved in negotiations over the use of his likeness, stated that "a bigger company" (she declined to specify whether it was Pepsi or the NFL) had insisted on including the Prince apparition and that the notion was not originally Timberlake's idea.[16]
Despite the lack of an individual guest artist, the more than 300-member University of Minnesota Marching Band was featured in the show. The band's drumline, brass, and saxophone sections pre-recorded and performed with Timberlake during his performance of "Suit & Tie." The upper woodwind and auxiliary sections led drill formations and held large mirrors during Timberlake’s performance of his song "Mirrors", and acted as fans and dancers throughout other portions of the show, including the club scene at the show's opening. All members of the band were featured on the field in the show's finale, "Can't Stop the Feeling!". The band had previously performed in the halftime show of Super Bowl XXVI.[4]
Critical response[edit]
Timberlake’s performance received mixed reviews.[17] In a positive review, Bruce R. Miller of Sioux City Journal wrote "Timberlake is a masterful live performer – which made Sunday's Super Bowl performance about the only sure bet," he continued commenting the performer "did a lot of infectious dancing and managed to play with the crowd like no other." Although it did not have a moment that "stuck," he considered the Prince tribute the best moment of the show.[18] In a similarly positive review, Taylor Weatherby of Billboard said "there is no denying that Timberlake absolutely rocked his first headlining [halftime]", further adding "Timberlake's halftime show was undeniably mesmerizing. From starting in the concourse to making his way into the crowd (and making #SelfieKid an instant superstar) for the ending." She also considered it "is made for a TV experience" rather than for the public in the stadium, mainly for the sound quality difficulties, but also criticized him for including Rock Your Body in the set list.[19] From the same magazine, Nina Braca wrote "his moves were on point,"[17] and Andrew Ubterberger said two things were "relatively certain" about the performance. "most of America would love it, and most of the Internet would hate it," and added Timberlake was "in a situation that was both a can't-lose and a can't-win. It would've been virtually impossible for him to please the critics he'd alienated over the last couple years."[20] Also from Billboard, Andrew Unterberge wrote, "Timberlake's audio was somewhat lacking throughout...but the choreography, live-band energy and song selection were all pretty impeccable".[21]
Chris Willman of Variety stated that, "Timberlake turned in a more enjoyably physical performance than just about anybody else who's done the Bowl show… and if it was more a feat of athleticism than aestheticism, you can’t say that’s entirely inappropriate for the occasion."[22] Willman also wrote that the show, "wasn't one for the ages, but was impressive as a show of athleticism"[22]
Jon Caramanica of The New York Times wrote that Timberlake's performance was, "heavy on dance spectacle, light on vocal authority".[23] Daniel Fienberg of The Hollywood Reporter called the show, "energetic, but also entirely lacking in live excitement." Feinberg criticized the show for largely lacking spontaneity and live vocals. Feinberg wrote that Timberlake delivered, "one of the most over-planned, least surprising performances imaginable."[24] Darren Franich of Entertainment Weekly graded Timberlake's performance a "C", calling it, "dutiful, and empty". Franich faulted Timberlake for playing too safe with his performance.[25] Similarly, Fran Guan of Vulture.com wrote, "Technically speaking, Timberlake’s set was a testament to precision". Guan, however, criticized Timberlake's performance from lacking in personality, and regarded his performance as unmemorable.[26]
The Guardian gave Timberlake 3 out of 5 stars, calling his performance forgettable but flashy.[27] In an interview with NPR, Ann Powers said that "the entire performance was shrouded in the sense of Timberlake not being right for this moment — and the Janet Jackson controversy haunted it."[28] Daniel D’Addarrio of Time.com gave the performance a negative review, criticizing Timberlake for singing Cry Me A River in addition to Rock Your Body, calling the song’s lyrics about an evil promiscuous woman out of step with the national mood, and said that the only message from Timberlake’s performance was that he loves his back catalog[29] Deadline felt "but you could see the motions more than you felt the music."[30] Chris Richards of The Washington Post regarded Timberlake’s performance as, “unambiguously underwhelming”.[31]
USA Today and Vulture compared Timberlake's performance unfavorably to Prince's own 2007 halftime show.[32][26] Amanda Petrusich of The New Yorker wrote that Timberlake’s decision to omit the end of "Rock Your Body" (which was performed during the controversial 2004 halftime) felt, “less like an apology than yet more spineless deflection”.[33] However, Andrew Unterberge of Billboard considered Timberlake's decision to cut the song short to be wise.[21] Timberlake's Stella McCartney-designed outfit received negative reviews, with some critics regarding it as "tacky".[17][24][19][21] The LA Times also gave a very critical review, one which also stated that Timberlake had nothing to say in his performance, and said that it lacked soul and meaning[34]. The Digital Journal gave him 2/5 stars and called it lackluster[35].
Commercial reception[edit]
The Super Bowl LII halftime show was seen by 106.6 million television viewers in the United States, 9% less than Lady Gaga's in 2017. It had higher average viewership than the game itself, and the decline for the halftime show was roughly in line with that of the game as a whole, which had lost 7% compared to the previous year.[36]
According to initial sales reports from Nielsen Music, sales of the songs Timberlake performed during the halftime show gained 534% in the United States on February 4, the day of the Super Bowl, compared to Feb. 3, while his streams on Spotify gained 214%.[37][38]
Setlist[edit]
Timberlake performing alongside a video projection of Prince
"Filthy"
"Rock Your Body"
"Señorita"
"SexyBack" (with elements of "Supplies")
"My Love"
"Cry Me a River" (with elements of "Kashmir")
"Suit & Tie" (with elements of Pusher Love Girl) (featuring the University of Minnesota Marching Band)
"Until the End of Time"
"I Would Die 4 U" (along with a pre-recorded video of Prince, displayed on a projection screen)
"Mirrors"
"Can't Stop the Feeling!"
See also[edit]
2018 in American television
References[edit]
Jump up ^ Schad, Tom (October 22, 2017). "Justin Timberlake Headline Super Bowl LII Halftime Show". USA Today. Retrieved October 22, 2017.
^ Jump up to: a b "No hologram, but still a Prince tribute in Justin Timberlake's halftime show". Star Tribune. Retrieved February 5, 2018.
Jump up ^ NFL (February 4, 2018), Justin Timberlake’s FULL Pepsi Super Bowl LII Halftime Show! | NFL Highlights, retrieved February 5, 2018
^ Jump up to: a b "U of M Marching Band steals the halftime show". KARE. Retrieved 2018-02-06.
Jump up ^ "Justin Timberlake and everything but the football – Super Bowl half-time show as it happened". Guardian. 5 February 2018. Retrieved 6 February 2018.
Jump up ^ "Super Bowl halftime show: Here's who Justin Timberlake's guest performers might be". CBS Sports. February 4, 2018. Retrieved February 4, 2018.
Jump up ^ Boren, Cindy (September 27, 2017). "Justin Timberlake reportedly 'finalizing' deal to headline Super Bowl LII halftime show". Chicago Tribune. Retrieved February 3, 2018.
Jump up ^ "Justin Timberlake Headlines Pepsi Super Bowl LII Halfitme Show". National Football League. October 22, 2017. Retrieved October 22, 2017.
Jump up ^ Aniftos, Rania (January 30, 2018). "The Parents Television Council Pens Open Letter to Justin Timberlake Asking to Keep Super Bowl Performance Appropriate'". Billboard. Retrieved February 4, 2018.
Jump up ^ Weatherby, Taylor (February 3, 2018). "Justin Timberlake Set to Deliver 'Mesmerizing' Super Bowl Halftime Show: Pepsi Execs Reveal It's 'Justin at His Best'". Billboard. Retrieved February 3, 2018.
Jump up ^ Sebra, Matt (February 2, 2018). "Justin Timberlake Finally Gets the Super Bowl Halftime Show Outfit He Deserves". GQ. Retrieved February 2, 2018.
Jump up ^ Karmali, Sarah (February 2, 2018). "Justin Timberlake to wear Stella McCartney at the Super Bowl". Harper's Bazaar. Retrieved February 2, 2018.
Jump up ^ "Super Bowl 2018 Justin Timberlake press conference highlights". People. Retrieved February 3, 2018.
Jump up ^ Legaspi, Althea (February 5, 2018). "Super Bowl LII: Watch Justin Timberlake Honor Prince in Halftime Spectacle". Rolling Stone. Retrieved February 5, 2018.
Jump up ^ Wilstein, Matt (February 5, 2018). "Prince's Family Approves of Justin Timberlake Super Bowl Halftime Tribute". The Daily Beast. Retrieved February 5, 2018.
Jump up ^ "Sheila E. says Justin Timberlake wasn't behind Prince hologram idea". TMZ. February 10, 2018. Retrieved February 10, 2018.
^ Jump up to: a b c Braca, Nina (February 5, 2018). "From 'Cry Me a River' to 'Can't Stop the Feeling!,' Justin Timberlake's 10 Best Live Performances: Critic's Picks". www.billboard.com. Billboard. Retrieved February 6, 2018.
Jump up ^ Miller, Bruce R. (February 4, 2018). "REVIEW: Justin Timberlake does a great Super Bowl job, even without NSYNC". Sioux City Journal. Retrieved February 6, 2018.
^ Jump up to: a b Weatherby, Taylor (February 4, 2018). "Justin Timberlake's Super Bowl Halftime Show: 5 Takeaways From Seeing It In Person". Billboard. Retrieved February 6, 2018.
Jump up ^ Unterberger, Andrew (February 5, 2018). "Justin Timberlake Plays the Hits, Largely Avoids Controversy With Sigh-of-Relief Super Bowl LII Halftime Performance". Billboard. Retrieved February 5, 2018.
^ Jump up to: a b c Unterberge, Andrew (February 4, 2018). "Justin Timberlake Plays the Hits, Largely Avoids Controversy With Sigh-of-Relief Super Bowl LII Halftime Performance". www.billboard.com. Billboard. Retrieved February 8, 2018.
^ Jump up to: a b Willman, Chris (February 4, 2018). "Halftime Review: Justin Timberlake Emerges Fumble-Free After Bad Pre-Game PR". Variety. Retrieved February 4, 2018.
Jump up ^ Caramanica, Jon (February 4, 2018). "Justin Timberlake Plays It Safe, Seeking Super Bowl Redemption". www.nytimes.com. New York Times. Retrieved February 8, 2018.
^ Jump up to: a b Feinberg, Daniel (February 4, 2018). "Critic's Notebook: Justin Timberlake's Super Bowl Halftime Performance Is Light on Singing, Spontaneity". www.hollywoodreporter.com. The Hollywood Reporter. Retrieved February 8, 2018.
Jump up ^ Franich, Darren (February 4, 2018). "Justin Timberlake's Super Bowl halftime show was dutiful, and empty: EW review". www.ew.com. Entertainment Weekly. Retrieved February 8, 2018.
^ Jump up to: a b Guan, Fran (February 5, 2018). "It Was His Halftime Show, But Justin Timberlake Was the Least Memorable Musician at the Super Bowl". www.vulture.com. New York Magazine. Retrieved February 8, 2018.
Jump up ^ Nevins, Jake (February 5, 2018). "Justin Timberlake's Super Bowl performance: a forgettable but flashy medley of hits". the Guardian.
Jump up ^ "As The Pop World Seeks Accountability, Justin Timberlake Seems Lost In The Woods".
Jump up ^ "Justin Timberlake Was a Man in the Weeds at His Super Bowl Halftime Show". Time.
Jump up ^ Patten, Dominic (February 5, 2018). "Justin Timberlake's Botched Super Bowl Halftime Show Return Not Princely – Review".
Jump up ^ Richards, Chris (February 4, 2018). "This is how Justin Timberlake lost the Super Bowl". www.washingtonpost.com. Washington Post. Retrieved February 5, 2018.
Jump up ^ McDermott, Maeve (February 5, 2018). "Compared with Prince's, Justin Timberlake's halftime show was a wimpy joke". www.usatoday. USA Today. Retrieved February 6, 2018.
Jump up ^ Petrusich, Amanda (February 4, 2018). "Justin Timberlake's Super Bowl Halftime Show, Reviewed". www.newyorker.com. The New Yorker. Retrieved February 6, 2018.
Jump up ^ Wood, Mikael. "Justin Timberlake had nothing to say at the Super Bowl and wouldn't stop saying it". latimes.com.
Jump up ^ "Review: Justin Timberlake lackluster at Super Bowl halftime performance (Includes first-hand account)". February 8, 2018.
Jump up ^ Patten, Dominic. "Eagles' 1st Super Bowl Win Draws 103.4M Viewers, Smallest Audience In Nine Years – Update". Deadline. Penske Business Media. Retrieved 5 February 2018.
Jump up ^ Caufield, Keith (February 5, 2018). "Justin Timberlake's Super Bowl Halftime Show Spurs 534% Sales Gain". Billboard. Retrieved February 5, 2018.
Jump up ^ Krzaczek, Katie (February 5, 2018). "Super Bowl Bump: Justin Timberlake Streams Jump 214 Percent on Spotify". Billboard. Retrieved February 5, 2018.
External links[edit]
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