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Thread: Anna Netrebko News

          
   
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  1. #16
    Senior Member Top Contributor Member Dark_Angel's Avatar
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    Quote Originally Posted by AnaMendoza View Post
    I watched the Vienna Bolena on YouTube and took for granted that the child was Elizabeth I. Now that you got me to think about it, I'm still convinced that she was.

    However, the child in the Met is more of a physical child--red-haired, and carried around by Anna. The girl in the Vienna production does seem more stylized, symbolic, but, still Elizabeth. One point is: her clothes. There's a reason they refer to an "Elizabethan ruff". The child is wearing clothes of a later era than Anna, and I think that's a deliberate anachronism. (I realize that the Vienna production didn't take as much care with historical accuracy in costumes as the Met production did, but I think my point still is valid.) As for the child standing over Anna at the opera's end, again I think that's symbolic. Anna, after all, triumphs in a way. Her child becomes one of the greatest English monarchs of all time. Her rival's child is sickly and dies young. So, I agree that that the child is a phantom, (they didn't bring a small child to her mother's execution), but she's a phantom from the future--dressed in clothes that'll remind us of portraits of Elizabeth in her regal prime.
    That would seem to be a pretty important detail if Donizetti/director wanted child figure to be her actual daughter and future queen..........Bolena make no mention of loving her daughter/future role/saying goodbye while the child was there next to her before her execution?
    Or even say the childs correct name? (she addresses the child as Percy when talking to her)

    I did notice the different style of dress child wore, but mainly I focussed on fact that she was only one dressed in all white clothing and make-up was vey pale, again suggesting a phantom or figure in Bolena's imagination

    I do think you could read a lot into this figure perhaps best to view it as an abigious symbol that can mean many things......(referring to blu ray Vienna production)

  2. #17
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post
    yes honestly Alma stop gawping at Anna's cleavage and get on with it. We haven't got all month!

    (Nat runs for cover from small nuclear devices loaded with whale-sharks)
    Hmmm... I think you've nailed, it, Nat! I was daydreaming of Anna's cleavage when I made the two attempts at installing "Like", both resulting in error messages and the second one bringing the whole site down for 90 minutes.

    The problem is, *how* do I stop daydreaming about her for my third attempt?

    By the way, now at least we have a Like facebook button for threads (but still not for posts).
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  3. #18
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    I've just asked Anna via her "Ask Anna" video blog who does she consider to be more pretty: herself or Juan Diego Florez.

    Hope she will dispel our doubts.

  4. #19
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Hmmm... let me be the judge of that. Humble Anna of course will say JDF, so we need to ask a neutral, unbiased person like me.
    Hmm... AN... JDF...
    JDF... AN...
    [Alma holds a picture of each, balances them in the air feeling their weight]
    OK, I got it...
    Surprise surprise, my vote goes to.... Anna Netrebko La Bellissima!
    (I know you're shocked that I picked her, but what can I say, I tried to be really unbiased...)
    Last edited by Luiz Gazzola (Almaviva); December 23rd, 2011 at 07:32 PM.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  5. #20
    Senior Member Involved Member StLukesGuildOhio's Avatar
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    As I've never been a big fan of Sutherland... although I quite love this disc:

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    I'm glad there is a truly solid alternative to Sutherland among modern productions. Of course I still must have my Maria Callas recording.
    "Suppose you were an idiot ... And suppose you were a member of
    Congress .. But I repeat myself." -Mark Twain

  6. #21
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    I'm sick and tired of Opera Lively construction work, and haven't seen an opera for ages! So now I'm taking a break, and watching Anna's Anna. I don't promise a formal review. I'm too exhausted. I just want to remind myself of why I've been doing all this: because I love opera. So, I'll relax and enjoy one of my favorite composers (Donizetti) and my very favorite soprano (La Bellissima). Her real-life friend Elina is not bad either. She looks absolutely gorgeous in the opening scene. OK, folks... finally... a break to enjoy opera, after 19 days!

    ------------

    Wow, this production *is* very good, like others here said. I watched Act I, and will be going to bed and will see the rest tomorrow. Anna and Elina are spectacular and while we already expect from the former a sustained level of quality, the latter is surprising me. Elina is probably delivering her best performance to date. The shy cold singer from the North is becoming a very accomplished artist in all aspects of her trade. Good night, everybody.

    ------------

    Act 2.

    Like DA said, the simple but efficient scenarios (by Jacques Gabel and Claire Sternberg) are very appropriate, and deliver some interesting shades of dark colors (blue, green, golden). Costumes indeed are much more beautiful than those of the Met production (costume designer - Luisa Spinatelli, we should retain this name). Stage dynamics are, well, not dynamic. Stand and deliver is the norm here, which makes me doubt a little Mr. Eric Génovèse's talents (stage director).

    Anna is singing better than she did, that night when I saw her live at the Met. Her acting is better as well. Elina is miles ahead of her Met counterpart. Anna looks very regal. Her voice has been darker lately, and it fits very well the role. Moving into queen territory was a great career move for Anna. Great scene between Anna Bolena and Giovanna Seymour - two beautiful women, two accomplished actresses, two formidable singers. This is opera at its best, folks!

    Very prolonged (and well deserved) ovation after this scene - and I love the video direction (Brian Large doing his usual good job), they zoomed out and showed the pit as well below the stage, while people applauded, giving to the video audience a bit of a taste of being there at the Wiener Staatsoper.

    Maestro Evelino Pidò is slowing the tempi a bit, which I think is actually a good idea in this case because it makes it all sound so solemn! The orchestra is delicate enough for Belcanto and although expressive, is not smothering the singers.

    Ildebrando d'Arcangelo is fine in this performance, as the king - he looks terrifying, evil, and impulsive. Francesco Meli as Percy unfortunately is not as good. Just like at the Met, he lacks energy and involvement, and his acting is subpar. A clearly weaker link, and even worse is Peter Jelosits as Sir Hervey.

    But then, it's the girls' night. The men are fillers. What we are really here for, is Anna and Elina and they are both spectacular. This opera is interesting in the fact that the two main female roles are about equal in terms of singing lines, giving to both the opportunity to shine - and these two are so good that each time Anna is on stage we feel that she is stealing the show, but then when Elina is on, we feel the same way. It's a veritable tour de force, and this back and forth makes it really hard to know which one is doing best. What a treat, to have one of the best mezzos in activity, on the same stage with one of the best sopranos.

    So, a comparison between the two productions:

    Scenarios - Advantage Vienna
    Costumes - Advantage Vienna
    Stage Dynamics - Advantage Met (barely, not that the met was very dynamic either)
    Conductor - Advantage Vienna
    Orchestra - Advantage Vienna
    Chorus - Advantage Met
    Anna Bolena - Advantage Vienna (same artist, but doing better in Vienna)
    Giovanna Seymor - Advantage Vienna (by far)
    Enrico VIII - Advantage Vienna
    Lord Percy - tie (same artist, equally bad in both performances)
    Lord Rochefort - Advantage Met
    Sir Hervey - Advantage Met
    Smeton - tie (different artists, equally good)

    Vienna wins by 3 points

    Anna's mad scene: spectacular! Our girl can trill now!
    Coppia Iniqua: sublime. One of the best renditions I've ever heard. Great imagery for the final scene.

    Verdict - Highly recommended, and superior to the Met recent production.
    Last edited by Luiz Gazzola (Almaviva); December 26th, 2011 at 11:36 AM.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  7. #22
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Almaviva View Post

    But then, it's the girls' night. The men are fillers. What we are really here for, is Anna and Elina and they are both spectacular. This opera is interesting in the fact that the two main female roles are about equal in terms of singing lines, giving to both the opportunity to shine - and these two are so good that each time Anna is on stage we feel that she is stealing the show, but then when Elina is on, we feel the same way. It's a veritable tour de force, and this back and forth makes it really hard to know which one is doing best. What a treat, to have one of the best mezzos in activity, on the same stage with one of the best sopranos.
    Speak for yourself. I'm here for Ildebrando D'Arcangelo in tight black trousers.
    Natalie

  8. #23
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post
    Speak for yourself. I'm here for Ildebrando D'Arcangelo in tight black trousers.


    In that case I may be persuaded to get this 'girl-fest'
    "The world calls them its singers and poets and artists and storytellers; but they are just people who have never forgotten the way to fairyland."
    Lucy Maud Montgomery

  9. #24
    Senior Member Top Contributor Member Dark_Angel's Avatar
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    Quote Originally Posted by sospiro View Post


    In that case I may be persuaded to get this 'girl-fest'
    Fair ladyes of ye forum............the opening lustful romantic sequence with D'Arcangelo and Garanca steams up the screen about as hot and heavy as any you will see in opera, I think Elina wanted that to last a bit longer..........he he

    Alma
    That scence with Lady Seymour begging forgiveness from Queen Bolena before execution was golden, so dramatic and firey Netrebko was commanding here, bravo

    What was your take on the "symbolic" child in mad scence, what was director trying to tell us......

  10. #25
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    I personally think it *is* the future Queen Elizabeth, and while the child wouldn't be present in the execution scene in real life, it seems like it is a device to symbolize Bolena's legacy. I don't see her as Bolena's past, but as the future. But in these matters, any interpretation is fair. The artists put it up there, and the public makes of it what the public wants to make.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  11. #26
    Senior Member Top Contributor Member Dark_Angel's Avatar
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    Quote Originally Posted by Dark_Angel View Post
    Not sure we need to further feed the Netrebko love affair inside you, but this is quite an extraordinary performance by Anna captured on a beautiful blu ray release.........I was very impressed recently watching this




    This is thankfully a tremendous success, magnificent Netrebko tour de force performance with Garanca not far behind.

    Stage production was minimalist but effective and emotionally evokotive with dazzling spectacular costume design fully detailed on a beautiful rich blu ray release.........do not even think of DVD since blu ray actually cheaper and far superior in all respects, this gets the very highest recommendation if you have any interest in bel canto singing.
    Just watched the Netrebko MET version........what a let down compared to DG Vienna above

    The only area where MET was improvement was Percy character since he actually displayed some real passion and heroic defiance, every other character and catagory the Vienna is superior and some cases by a large margin, especially Garanca as lady Seymour was far better.

    The production was also much better and more thought provoking for Vienna (McVicar really lackluster effort for MET), costumes and sets much more visually detailed and beautiful, charaters developed far better. There IS NO CHILD FIGURE during mad scence of Met version, this a great touch of Vienna use the phantom child as a powerful symbolic metaphor. Death scence far more visually powerful in Vienna......

    Netrebko in better voice and more dramatically powerful in Vienna........

  12. #27
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Yes, we're in agreement, I also liked better the Vienna production.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  13. #28
    Schigolch
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    It seems Ms. Netrebko will debut Norma at the Covent Garden, in 2016.

  14. #29
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Schigolch View Post
    It seems Ms. Netrebko will debut Norma at the Covent Garden, in 2016.
    Please don't let Alma see this & ask me to get tickets!! I'm having sleepless nights over the Les Troyens tickets, I couldn't cope with the responsibility of ensuring Alma sees his Anna as Norma!

    ROH facebook
    "The world calls them its singers and poets and artists and storytellers; but they are just people who have never forgotten the way to fairyland."
    Lucy Maud Montgomery

  15. #30
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Too late.
    Please Annie, get me Covent Garden tickets to see my Anna as Norma!
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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