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Thread: Anna Netrebko News

          
   
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  1. #46
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    The following is a very ambiguous review of Anna's Verdi CD. While seemingly finding a number of serious problems, the reviewer still says it's better than the versions of most other singers (except for the historically great ones he mentions) and names himself one of Anna's greatest fans.

    http://www.classicstoday.com/review/...erdi-netrebko/

    Now, this review upsets me. I was completely unable to perceive the defects he points to. So, this points to one of three possibilities.

    1. I'm completely blind (or rather, deaf) thanks to my predilection for La Bellissima. My bias is not allowing me to see her shortcomings.
    2. I'm very faulty in my understanding of classical singing technique and that's why I couldn't reach the conclusions this critic did. I need to study more.
    3. This critic is FOS and is another one of those who find that badmouthing Anna makes him look smarter.

    Of course, possibility 1 is sort of understandable; it happens, when we have a bias. Possibility 2 is very upsetting; if that's what it is, I may have to work harder in my journey through opera than I'm willing to do at this point (given how busy I've been). I was relatively content with where I was, in terms of my ability to discern good singing versus bad singing, but if I can be this wrong, then it puts everything into question. Possibility 3 is reassuring. It wouldn't be the first time that people would get out of their way to try to find fault in Anna's singing (I do agree with him regarding her coloratura problems and the fact that she's been often in the wrong roles for her voice).

    Now, of course, what I need to do, is listen to the CD again very carefully, and verify one by one this critic's statements, trying to be as unbiased as possible in assessing each point. I'll do this, eventually.

    Meanwhile, can someone else please weigh in, listen to this CD, and tell me if you think this critic is right, or if my optimistic evaluation of this CD is the one that is right?

    tyroneslothrop can usually dig out a large number of articles from the online press. Maybe you can list here some other reviews, so that we can compare the evaluations of other critics (hopefully, reputable ones) with this guy's?

    Well, it doesn't bode well for me that reading another one of this Robert Levine's reviews, I thought he was rather on target, so he does seem to know what he is talking about, which makes of possibility 2 a more likely one.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  2. #47
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    Of course, this is only a summary, but it gives you the general idea of what the reviewer from Das Opernglas had to say:

    Anna Netrebko’s first studio album in about five years documents the astonishing development the soprano’s voice has been undergoing recently. In the first selections from Macbeth, she has a mezzo-like darkness in the lower register and a blazing dramatic quality on top – worlds away from Adina or some of her other earlier roles. All of this is appropriate for the Lady, and from a musical standpoint, she masters the part superbly, with effortless register leaps, fluid coloratura, and powerful high notes. Precisely those technical challenges with which other dramatic sopranos often have difficulty pose no problems for her. But it’s also evident that she’s just beginning to develop a psychological character portrait of this woman. One doesn’t hear either Lady Macbeth’s uncompromising hardness or the fascination she exerts on her husband that will make that man walk over corpses at her behest. After the excerpts from Macbeth, Netrebko moves on to those roles that are more clearly in the lirico-spinto repertoire – Giovanna d’Arco, Elisabetta di Valois, Elena in I Vespri Siciliani, and Leonora in Il Trovatore – and where she is more at home. With them, one hears all of the qualities that make her such an exceptional artist: the pure beauty of the voice, the tonal production that’s always free from pressure or sharpness, the lovely piani and effortlessly radiant high notes, and the capability for both lyrical expressiveness and dramatic intensity. As a bonus, Manrico in the “Miserere” is sung by one of her noted stage partners, Rolando Villazón. This excellent recording makes one long to hear more Verdi from her.

    And while I haven't had the chance to read the review yet, her recording was selected by Opernwelt as CD of the Month in the September/October issue, which I just received.

  3. #48
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by MAuer View Post
    Of course, this is only a summary, but it gives you the general idea of what the reviewer from Das Opernglas had to say:

    Anna Netrebko’s first studio album in about five years documents the astonishing development the soprano’s voice has been undergoing recently. In the first selections from Macbeth, she has a mezzo-like darkness in the lower register and a blazing dramatic quality on top – worlds away from Adina or some of her other earlier roles. All of this is appropriate for the Lady, and from a musical standpoint, she masters the part superbly, with effortless register leaps, fluid coloratura, and powerful high notes. Precisely those technical challenges with which other dramatic sopranos often have difficulty pose no problems for her. But it’s also evident that she’s just beginning to develop a psychological character portrait of this woman. One doesn’t hear either Lady Macbeth’s uncompromising hardness or the fascination she exerts on her husband that will make that man walk over corpses at her behest. After the excerpts from Macbeth, Netrebko moves on to those roles that are more clearly in the lirico-spinto repertoire – Giovanna d’Arco, Elisabetta di Valois, Elena in I Vespri Siciliani, and Leonora in Il Trovatore – and where she is more at home. With them, one hears all of the qualities that make her such an exceptional artist: the pure beauty of the voice, the tonal production that’s always free from pressure or sharpness, the lovely piani and effortlessly radiant high notes, and the capability for both lyrical expressiveness and dramatic intensity. As a bonus, Manrico in the “Miserere” is sung by one of her noted stage partners, Rolando Villazón. This excellent recording makes one long to hear more Verdi from her.

    And while I haven't had the chance to read the review yet, her recording was selected by Opernwelt as CD of the Month in the September/October issue, which I just received.
    OK, great, thanks MAuer. It does look, then, that option #3 is the more likely one, yay!
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  4. #49
    Senior Member Top Contributor Member Dark_Angel's Avatar
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    Quote Originally Posted by Luiz Gazzola (Almaviva) View Post
    OK, great, thanks MAuer. It does look, then, that option #3 is the more likely one, yay!
    I find Robert Levine very knowledgeable with good insight in opera reviews, I hear everything he says about Netrebko vocally vs the greatest Lady Macbeths like Callas and Verrett but I just accept those as Netrebko's natural style......she will never be as strongly dramatic or vocally daring as Callas she has a different more controlled and warm vocal, when you are recording the greatest arias ever for soprano voice like Verdi's you are getting compared with giants of the past.....

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  6. #50
    Senior Member Top Contributor Member Dark_Angel's Avatar
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    Quote Originally Posted by Dark_Angel View Post
    I find Robert Levine very knowledgeable with good insight in opera reviews, I hear everything he says about Netrebko vocally vs the greatest Lady Macbeths like Callas and Verrett but I just accept those as Netrebko's natural style......she will never be as strongly dramatic or vocally daring as Callas she has a different more controlled and warm vocal, when you are recording the greatest arias ever for soprano voice like Verdi's you are getting compared with giants of the past.....
    A mixed review from OPERA NEWS web mag even though it is featured editors choice CD recording of the month?

    Some of the same comments as Robt Levine especially about Lady MacBeth tracks, we will soon see how the live performances come off

    http://www.operanews.com/Opera_News_...ko__Verdi.html



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  8. #51
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    OK, I guess these people are right after all.
    So maybe it's a bit early for Lady Macbeth - but eventually she'll get it right.
    She seems ready for Trovatore, then. I look forward to it.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  9. #52
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Anna seems to be having fun, and bouncing back neatly from the separation.

    I love the over-the-top nature of her new Manhattan apartment, and the picture on this New York Times piece - entitled Anna Netrebko Decorates - is interesting:

    [clicky}
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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  11. #53
    Senior Member Top Contributor Member Dark_Angel's Avatar
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    Quote Originally Posted by Luiz Gazzola (Almaviva) View Post
    Anna seems to be having fun, and bouncing back neatly from the separation.

    I love the over-the-top nature of her new Manhattan apartment, and the picture on this New York Times piece - entitled Anna Netrebko Decorates - is interesting:

    [clicky}
    Vividly colorful apt full of energy and fantasy elements but........
    that small old tech TV is definitely not for me, and where is the stereo? I would think famous singers love to listen to music?

  12. #54
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Well, she got two apartments on the same floor, says the article. Maybe the stereo is in the other one.
    Maybe the small old tech TV is a throwback piece of decoration.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  13. #55
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    From La Bellissima's Facebook page:



    The lady is brave, that's all I can say.

  14. #56
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by MAuer View Post
    From La Bellissima's Facebook page:



    The lady is brave, that's all I can say.
    Crazy Russians!
    Natalie

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  16. #57
    Senior Member Top Contributor Member Dark_Angel's Avatar
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    Quote Originally Posted by MAuer View Post
    From La Bellissima's Facebook page:



    The lady is brave, that's all I can say.
    Miss Netrebko just realized that sliding glass door locks behind her and keys are inside.......

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  18. #58
    Senior Member Top Contributor Member Clayton's Avatar
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    Quote Originally Posted by Dark_Angel View Post
    Miss Netrebko just realized that sliding glass door locks behind her and keys are inside, this suckssssssssssss!!!!!!!!!!!
    and she need go wee wee

    - - - Updated - - -

    I have the ability to lower the tone in any thread...

  19. #59
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    So Anna has cancelled Faust. My email from Kasper Holten in full:

    Dear Mrs ******,

    I am writing to you because I wanted you to hear directly from me that Anna Netrebko has regretfully withdrawn from the role of Marguerite in Faust with The Royal Opera in April 2014. This was to have been her debut in the role.

    Anna Netrebko has asked us to forward the following: ‘I am so sorry to have to withdraw from the role of Marguerite in Faust. After much consideration and intensive preparation, I have come to the conclusion that the role is not right for me. I had been very much looking forward to making my debut in this role at the Royal Opera House and following it with further performances in Vienna and Baden-Baden. Unfortunately, I must now withdraw from all these productions. I am very sad to be disappointing my fans in London, Vienna and Baden-Baden and hope they will understand the difficult decision that I have had to make. However, I am very much looking forward to returning to The Royal Opera to perform with the Company again in 2015.’

    We are working very hard to secure a good replacement for Anna Netrebko in this important part, and as soon as we know who will be replacing her, we will of course be back in touch.

    In the meantime, I am still extremely excited about the rest of the cast for these performances of David McVicar’s spectacular production: Joseph Calleja sings the title role, with Bryn Terfel as Méphistophélès, while Simon Keenlyside is Valentin. The wonderful Italian conductor Maurizio Benini returns to the Royal Opera and conducts all performances.

    Yours sincerely,

    Kasper Holten
    Lots of people on social media expressing no surprise at this news but I, for one, am very disappointed.
    "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

  20. #60
    Senior Member Top Contributor Member Clayton's Avatar
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    No! No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, NO!

    I would be very upset.

    "After much consideration and intensive preparation, I have come to the conclusion that the role is not right for me." This is not a good reason to cancel a performance she agreed to do. This is not professional.

    I see though that there is this geezer called Simon Keenlyside in the cast. If memory serves me right, you like him a bit. So not a total loss for you.

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