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  1. #16
    Junior Member Recent member Lellobeetle's Avatar
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    Regarding Anna Netrebko, I think she's got a nice voice, but needs more studying and development and she could be outstanding. I like her singing Barcarolle and the Flower Duet with Elina Garanca.

    Barcarolle


    Flower Duet
    Laura

  2. #17
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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  3. #18
    Junior Member Recent member Lellobeetle's Avatar
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    Quote Originally Posted by Hoffmann View Post
    Have I offended?
    Laura

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    Quote Originally Posted by Lellobeetle View Post
    Have I offended?
    Nah!

    Although Alamviva will probably have a contrary opinion. By and large, though, differences of opinion are well tolerated here and are often the start of interesting, yet civilized discourse.

    Except for Alma, whom some think is getting a bit cranky in his dotage ....

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  6. #20
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Lellobeetle View Post
    Regarding Anna Netrebko, I think she's got a nice voice, but needs more studying and development and she could be outstanding. I like her singing Barcarolle and the Flower Duet with Elina Garanca.
    Quote Originally Posted by Hoffmann View Post
    Quote Originally Posted by Lellobeetle View Post
    Have I offended?
    Hoffmann's shock is only because he knows how Almaviva will react

    All opinions are valid and welcome on this site. I love hearing other people's opinions and it would be so boring if everyone liked the same singer.

    My friend and I talk for hours about why different people like different voices. Both of us are fanatical about opera but she prefers lyric/dramatic sopranos and isn't ever interested who the tenor is. I prefer basses and baritones and I'm not interested in who the tenor is either (as long as he can sing the right notes and in the right order, Mr. Preview) and I'd be happy if there were no women in any opera, ever!

    "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

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  8. #21
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    NOT INTERESTED IN WHO THE TENOR IS??????????????????????

    I wasn't aware that there were other singers except for duets with the tenor!!

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  10. #22
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by JohnGerald View Post
    NOT INTERESTED IN WHO THE TENOR IS??????????????????????

    I wasn't aware that there were other singers except for duets with the tenor!!


    That's most people's reaction. I just don't like soppy love stories and as these usually involve the tenor and the soprano, my favourite operas tend to be different from other people's.
    "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

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  12. #23
    Junior Member Recent member Lellobeetle's Avatar
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    Break it down for the new girl, please. Are these two examples too pedestrian? After all, I'm an Opera peasant.

    ETA: The thing I don't care for about modern opera singers is what i perceive as being highly packaged and marketed. One thing I love about Caballé is she was/is herself without any hooks to draw in people. Only her talent is depended on.

    Am I reading that correctly? Make sense?
    Laura

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  14. #24
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Lellobeetle View Post
    Break it down for the new girl, please. Are these two examples too pedestrian? After all, I'm an Opera peasant.

    ETA: The thing I don't care for about modern opera singers is what i perceive as being highly packaged and marketed. One thing I love about Caballé is she was/is herself without any hooks to draw in people. Only her talent is depended on.

    Am I reading that correctly? Make sense?
    Makes perfect sense to me!

    These days, the singer's looks for the DVD/cinema streaming, is often more important than the voice.
    "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

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  16. #25
    Junior Member Recent member Lellobeetle's Avatar
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    Frankly, Netrebko is not really on my radar.
    Laura

  17. #26
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Lellobeetle View Post
    Break it down for the new girl, please. Are these two examples too pedestrian? After all, I'm an Opera peasant.

    ETA: The thing I don't care for about modern opera singers is what i perceive as being highly packaged and marketed. One thing I love about Caballé is she was/is herself without any hooks to draw in people. Only her talent is depended on.

    Am I reading that correctly? Make sense?
    No, really, running joke apart (I'd be supposed to fire a small nuclear device at your house), your examples are nice, but Anna *has* developed beyond that. If you have an opportunity, please listen to/see her Lady Macbeth at the Met. Listen to her Verdi album. Go back a little and see her incredible Lucia di Lamermoor mad scene where she matches the glass harmonica.

    Anna has developed into simply... the best soprano of her generation, in my humble opinion, especially now that she's been venturing into the dramatic repertory, and doing extremely well in this fach. Not to forget, she is an extremely gifted actress, and a stage animal. She commands the stage. Her stage presence is simply phenomenal.

    Her Lady Macbeth is of historical proportion. It's of Maria Callas caliber.

    Sure, maybe I'm biased, but I really admire this woman, and I consider myself utterly privileged for having met her four times in person, and for having interviewed her at length, although it's arguably my weakest interview because I was too star struck and couldn't put two questions together, being entirely fascinated by her charm, her lively personality, and compelling body language.

    Is Anna heavily marketed? Oh well, she is very pretty, very attractive, so yes, opera companies and recording companies try to make money based on her artistry and looks, and do market her heavily. She happens to sell opera tickets, DVDs, and CDs. What's wrong with that? The art form struggles enough, and when we have an artist like Anna who can attract the crowds, yeah, we do need to get those tickets sold.

    But Anna is a simple, down-to-Earth, funny, approachable, genuine person. She is no diva. She is very much admired by her colleagues for being friendly, humble, and hard-working. She is a very *good* person who believes in her art and is very charitable (involved in significant efforts to better the lives of disadvantaged children).

    Anna is a very fabulous human being and an outstanding artist.

    Some people like to criticize her based on the old assumption that she is on top of the opera world just because she is pretty.

    Oh well, that's really, really old news. By now, Anna has abundantly shown that she is on top because she is an extraordinary singer and actress, with an uncannily beautiful timbre of voice, ever-improving technique, and a spectacular ability to portray a character on stage.

    Of course, here on Opera Lively like sospiro said, there are no wrong opinions. Every opinion is valid. Every preference is cool.

    Just, I got a feeling from your posts that you haven't seen Anna live on stage yet. Please, pardon me if my assumption is wrong, but if I got this part right and if it is the case, please, just reserve judgment. Go see her. Go listen to her gorgeous voice directly, no mediation through recordings or broadcasts. Just that aural space, that direct sound wave, from her lungs and throat to your ears. Then, see her passion on stage; see her get into her character like a natural, so that you forget that you are in an opera house, and you just relate directly to that character and to that music, transported to that universe by her artistry.

    We are all privileged, as opera lovers, to be able to sit there and watch/listen to an artist like Anna. She is one of those rare ones who grace our art form once every 30 years or so.

    In a century and so, if our species is still thriving on this Earth, people will look back at the opera scene in the 21st century and will talk about Anna Netrebko. All the stuff about marketing and looks and all will be unimportant by then. What will prevail, is her marvelous voice.

    Yeah, Anna is tops. Give her a chance!
    Last edited by Luiz Gazzola (Almaviva); November 9th, 2015 at 05:02 AM.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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  19. #27
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Only problem about Anna is that she's a soprano (I'm not as bad as Annie because I DO like mezzos)
    Natalie

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  21. #28
    Senior Member Top Contributor Member Clayton's Avatar
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    Whilst I would not describe myself as an Anna fan, I am a massive fan of her performance of Stabat Mater and Iolanta; my two recommended Netrebko recordings

    Click image for larger version. 

Name:	Stabat mater - Antonio Pappano 2010, Anna Netrebko, Marianna Pizzolato, Orchestra dell'accademia.jpg 
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    Pergolesi:
    Nel chiuso centro - chamber cantata
    Anna Netrebko (soprano)
    La conversion e morte di San Guglielmo duca d'Aquitania: Sinfonia to the sacred drama
    Questo è il piano
    Marianna Pizzolato (contralto)
    Stabat Mater
    Anna Netrebko (soprano) & Marianna Pizzolato (contralto)
    Orchestra dell’ Accademia di Santa Cecilia, Antonio Pappano

    Click image for larger version. 

Name:	Iolanta - Emmanuel Villaume 2012, Anna Netrebko, Sergey Skorokhodov, Alexey Markov, Monika Bohin.jpg 
Views:	15 
Size:	50.5 KB 
ID:	8505

    Tchaikovsky: Iolanta
    Anna Netrebko (Iolanta), Sergey Skorokhodov (Vaudémont), Alexey Markov (Robert), Monika Bohinec (Martha), Junho You (Almerik), Lucas Meachem (Ibn-Hakia), Vitalij Kowaljow (King René), Luka Debevec Mayer (Bertrand), Nuška Rojko (Laura), Theresa Plut (Brigitte)
    Slovenian Philharmonic Orchestra, Emmanuel Villaume

  22. #29
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    OK, Clayton, given your opening phrase, I'm sending to your house just half of a small nuclear device.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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  24. #30
    Senior Member Veteran Member
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    One of the things I enjoy about opera is the opportunity to experience different singers doing the same role. I review enough opera recordings on Amazon.com to be very confident in stating that some folks can be rabid in their enthusiasm for "this" singer over "that" one. I like 'em all, if they are good singers (and better if they can act, too!) "She Who Must Be Obeyed" (a 19th century literary allusion) cannot understand why multiple recordings of Traviata, Lucia, etc. populate the video shelves, but such is life!

    Anna Netrebko is, IMHO, a great artist. I first experienced her work on a DGG DVD of the Baden Baden Gala (now, thankfully, available on Blu ray. Her skills were superb then, and have only improved with time. The new DGG release of Macbeth may well be the best operatic experience of my life, which as far as opera goes, extends back to the 1960s when I was able to see (and meet) some of the great singers from the Met.

    I mention all of this for Lellobeetle, who considers herself less well versed in opera than some others. What a neat stage in operatic fandom! What marvelous experiences await.

    My only suggestion is to maintain an open mind. As Dr. McCoy once said to Capt. Kirk, "Jim, it's all good!"

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