Compare the same year (2006) production of this opera of La Scala, starring d'Arcangelo and Diana Damrau to see the difference, and the REAL Mozartian style.
Clearly those who think her voice is too heavy have not attended many Figaros in the great houses, as I have. It's always refreshing to hear a different sound quality in this role, just wishing those few high notes weren 't so flat.
Anna Netrebko is one of my all time favorites, but she's not a soubrette, she is a Lyric so her voice is a little heavy on this piece. It's entirely the wrong fach for her. But she is very talented she can pulls off the wrong fach beautifully! : )
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
Her Mozart is really one of the top achievements of this sublime artist. She has the purity, perspicacy, simplicity, sober elegance and a sort of childish ingenuity that are the most difficult requirements for Mozart, the Goya of music. She reminds me everytime Elisabeth Schwarzkopf under Furtwaengler. Here on YT there is another legendary performance of hers: D'oreste D'Ajace in Salzburg. Colossal.
Yeah, when I read she was in Figaro, I thought to myself "she must've been the Countess"...and then I hear hear sing this...it's just weird. I still love her though.
Everything I see of this performance is so beautifully staged. I thought her singing and acting were both very good and I liked hearing a Susanna who's not quite so girlish.
I'm all in favor of unusual casting choices if they work. Of course, being a light lyric, I usually like to see it going the other way. I'm not as happy when the heaviest voices are cast in everything.
Like Alagna's recent triumph in Carmen at Covent Garden and Mattila's Tosca at the Met, all of these will receive the same top fee: 15,000 Euros. This fee, 15,000 Euros per evening, net, is reserved for the great voices.
Praised both for her glorious voice and beauty, Anna Netrebko is acknowledged today as one of the world's most stunning young sopranos who sweeps audiences off their feet wherever she appears.
I'm not a fan of Netrebko and her voice is not expressive enough for me, just very standard and nothing remotely striking like singers of the 20th century. She's a post 2000 singer and they all seem to sound very generic to me. For the Countess, a touch of melancholy and quiet dignity (but not a passive quality) is needed. She's a strong Countess who is deeply hurt but maintains faith and hope.
Don't blame Netrebko. Blame Harnoncourt. I really think that when he conducts you never know whether he's going to play a waltz like it's a requiem or vice versa.
Venite, inginicchiatevi he conducted very slowly, and she sang it quite well.
As weird as Harnoncourt makes it sometimes, there's nothing quite as boring as Mozart--or any composer's music for that matter--conducted without ideas brought to the table, so I'm thankful for that.
@truvianni so untrue! In 1700-1800, there was no mezzosoprano, and if you would look into the score, you would see that there is not a single mezzorole in "Figaro" (yes, even Marcellina is really high in her 4.act aria). If there is a mezzosoprano, take Cherubino (and even Cherubino is a soprano, the first Cherubino was to the first Despina).
@aeru9 I did not know that I just checked it and it is true there were no mezzos at that time yet I was aware that Cherubino was a mezzo well I have always heard that part performed as such thanks for the information
@aeru9 no need to say sorry on the contrary I should thank you you for informing me and I say sorry to you for I spoke with errant knowledge actually I write a lot of article on the subjest of opera and have even writen a book "New York's Opera Society" so by telling me this you have done me a favor if you care to read some of my article google my name "Truvianni"' I usually do not make such mistakes so grazie
lol exactly. I don't understand all the Bartoli praise when it comes to Susanna's role. I am a Bartoli fan, but she sounded terrible in Susanna, and even worse in Semele.
whoa, what's up with you guys critisizing these lovely opera singers??? They sound very lovely ,there is nothing terrible about thier voices. You guys are blindly deff!!! I sware to God!
People are very mean on youtube. i made a comment on a song and every last person took it the wrong way i was called all kinds of bad names and such. People are so criticle, I am sure they will critisize my spelling and such
I knwo hey?..cause they have nothing better to do and the best they can do is to critisize your spellings because they have nothing ot critisize cause they suck and should go hide before they get critisized
As usual, a senseless rant of a rebuttal from a Netrebkoite. No one addresses her style, pitch, production, or rhythm issues...only that she 'lives the part' or 'has a wonderful time' or 'clearly enjoys herself'. Yes, but she can't sing. Call it a hunch, but I bet your hands are sticky.
Sua voz é muito pesada para cantar Mozart, ainda mais em se tratando de Susanna, que é para vozes leves. Alem disso, ela canta com a mesma cara sempre. Nao vejo intenção em sua face ao cantar. Ela poderia exagerar mais um pouco pra ver se aparece algo. ihihihi E dicçao, cadê? Italiano é uma lingua com consoantes e vogais puras, facéis e otimas para o cantor. Portugues tambem, so que menos que o Italiano. Em suma, nao gostei!
The singers of the past are wonderful, but there are stupendous singers today, too (not Netrebko, agreed). Von Otter might get my vote for best singer of the past 50 years...Pregardien, Scholl, Margaret Price...Gruberova in her prime (not so long ago) was matchless...Auger, Bonney, te Kanawa. Perhaps the dramatic voices don't match up today, but many lyrics are sounding great.
And don't forget: it sure doesn't hurt a career to look like a model either....whether this is more the point to her or the singing...Would she really be "so amazing" if she wasn't so beautiful, and had the amazing publicity machine behind her (or I guess she's driving it herself - she's a grown up who is making her own choices).
Dear pourmoinyc, I am so glad to hear your opinion! I love Anna, I just heard her in Lucia, that was superb - her voice her looks, her acting - everything was amasing! Unfortinaletely there are lots of idiots out there who are alowed to post stupud comments about a wondeful singer. She was nominated the best soprano in the world! (March 27th of 2009 story in the Times (UK) titled The 20 Best Classical Divas.)
I'm so glad to know you understand what singing is all about.This young naturally talented artist never sings a role,she lives it,posses it and it makes you feel it intensely.Of course she deserves the nomination of best worldwide soprano in 2009.Hard to compete with perfection.
If she was blessed with beauty,talent and knowledge we are the lucky ones for been able to share it.
The ones that sing do so,the ones who can't just critique and try to bring them down to their mediocre levels.
ugh she's so good. saw her in La Boheme last year at the Met - she can project like a monster too, without pushing or anything. such a big instrument.
It seems to me that the recit is a little labored and doesn't flow like actual spoken Italian... am I imagining this? It is something I'm just starting to understand myself, so perhaps I'm looking for it....
Does anyone find the tempo a bit brisk? I know Netrebko's voice is an issue of contention for many opera fans...but I have to say her voice is extremely unique and distinguishable...which is something to be celebrated. I actually like her subtlety and control here...and I think it's interesting to hear the aria in a darker voice, in my humble opinion it works nicely. Lucia Popp remains my favorite though.
This comment has received too many negative votesshow
1. Some (such as I) like 'brisk' tempi in compound-meter Mozart, as this. The harmonies move too slowly to support a slower tempo.
2. It takes a much better voice to sing it more slowly, anyway. She has not the requisite control of breath or of pitch to pull it off. Remember that this is the woman who couldn't get through the first four words of 'O mio babbino caro' in one breath at the Kennedy Center.
xgianpatrick I wasn't insulting the maestro's interpretation just making an observation compared to a few other recordings I've heard....and yes you're right Ms. Netrebko's technique has flaws but like I said before I find the color and size intriguing. I'm not a classical musician just an avid listener so it's never my intetntion to offend anyone's musical sensibilities.
People like me don't know the techniques of singing, the languages, or the music. I do know that I have heard many interpretations of this work and I appreciate differences.
I do appreciate the commentary of those of you who know what I don't know.
Thank you for posting. My old music teacher told my parents that I alway gave her a fine lesson in the history of music but that they were wasting their money with my lessons.
I figure it's never right to assume everyone who writes comments here knows what they're talking about. And anyway, you know what you like or don't like, and seem like you've listened enough and have for this reason as much right as anyone to pass jugement. Having said this, I rather agree: In find Netrebko makes this aria seem quite bland. I guess Mozart is not really her thing.
I agree with the observation about the tempo but it seems to be more the desicion of the conductor in this case becouse is really noticeable that she is trying to drop it down and that finally happened at the final of the aria.
I totally agree about the tempo. But apparently some freedom has been taken for this aria to many directors, and somehow this freedom is exciting to taste a different flavor of very recognizable piece.
About Anna, I love her, I really love her. But some time ago I started to prefer Diana Damrau and I think She did it better in this aria. But it's just my opinion and I respect who think different...
I like this tempo, and it is the way Mozart intended in his marking...but it is rare in today's productions for people to take it so fast. The toughest spot for this tempo is "ti vo la fronte incorora", and the conductor did a rit. to accomodate. I enjoy it, it is different. Difference should be celebrated!
I know all of these singers, but in Mozart I prefer Elisabeth Schwartzkopf. Schwartzkopf is the only one comparable to Netrebko for me, in vocal purity and elegance. But Netrebko is far better musically, because she is not only "singing", she possesses totally the text. And she likes to experiment much with vocal technic, assuming even certain risks. But the courage is the first quality a real artist must have.
Schwartzkopf loses to Netrebko in Mozart? Are you joking? She has no control over her voice! Of all the composers she should not approach (i.e. most of them), Mozart is #1. Jesus, Mary, and Joseph...I need a drink...
I knew her voice (many times fom vienna to Met etc) and how it sounds live! She sounds on records boring BUT BETTER THAN LIVE - her voice is nothing special! She will be forgotten in few years..... And she is not able to sing LIKE A REAL GOOD soprano leggiero! She is an product of the recordindustrie! She is cheap sweet looking and a OPPERATTASOPRANO and certainly a POPSINGER! This is reality! Pardon for your ears----think that youre not an livevisiting enthusiast...?
Who said Mozart is without portamento Don Giovanni07? Your vocal teacher? BUAHUAUAHUAHA. I suppose you read all the vocal manuals of "Scuola Italiana di canto" that belogs to Giulio Caccini and continue until XIX century (and Mozart studied with an Italian singer). THIS IS NOT MASCAGNI, THIS IS MOZART.
But from French Grand Cri to Wagner to Italian Verismo that vocal tradition was more concentrated on the vocal emission power and "beauty" in abstract, more than to express "affetti". So this is often the monolithic way of singing taught today. To sing Mozart and Bellini with a voice firm, homogeneous, with a lot of vibrato, is NOT CORRECT. It's not "In quella Reggia" nor "Isloden Liebestodt". I'm not a singer, but it seems I know singing more than you.
Who said that bullshit? You know, if you read interpretation manuals of Caccini etc. that for EVERY musical situation there are mode of singing, like "sprezzatura" etc. In "Recitar cantando" for example a singer could attach the firs pitch of a phrase a THIRD UNDER THE NOTE and make a portamento and this well BEFORE Bellini...these are not only "natural" attitudes for every REAL musicians, but even well hystorically documented. And Mozart vocality belongs to that great italian tradition.
she darkened her voice the whole time FOR WHAT? I cant understand this kind of voiceproduction and this role has to be more prepared (the legati and the parlando!) she is not a operasinger - she is an popsinger of opera!
She has an amazing voice, no doubt. But not for this role. Susanna's role I think should be a bit lighter than this. She sounds far too...well...the only word I can think to describe how she sounds is coloratura for this role. This is truly a lyric role in my opinion.
The tempo of the recit. is far too slow. I tend to agree with the general comments that she doesn't suit this role. It seems to sit too low for her... I admire the fact that they didn't do the extra ornamentation near the end.
I really like Netrebko voice but she is not the right for the role of Susanna. The best performance, by far, I've seen of this aria (posted) is by Lucia Popp hands down.
revallen - Don't think Renee Fleming has ever sung Deh viene non tardar at the opera. She has sung the Countess but not Susanna. Please try not to think of Fleming as the vocal standard. There are MANY singers at her artistic level.
Has anyone heard Fleming sing the same aria in performance? Her interpretation is superior, but her singing is different and both are excellent. I can't fault Netrebko. The only thing I have heard her sing which was just done at the wrong tempo (blame the conductor) was "O mio babbino caro."
fleming is far more likely to sing the countess. In fact, I don't know that she sings susanna ever...at least not that I recall. So, i think the comparisson makes no sense.
I totally agree...but I saw that this was part of the new Salzburg DVD's and thought they might have those scenes. Christine is 100000X better than Netrebko ever will be!!!
These critics, if they have ever sung, would realise that the very second one starts to sing, one knows at once what the result is going to be? Get it right, and you are away with the flowers, or the stars? Get it wrong, and it is one shell hole to another. Anna has never suffered from either. She is spot on everytime. Viva Anna, you are wonderful!
When x seeks out everything that y does and finds pleasure in making degrading remarks about it, that is strongly indicative of x's complexes. Now lets imagine that x is a secure and self-confident individual, who nevertheless (such an individual is more likely to like successful individuals such as y) does not like y. What will x do? X will not listen to y but instead will concentrate on the other letters of the alphabet!
Compare the same year (2006) production of this opera of La Scala, starring d'Arcangelo and Diana Damrau to see the difference, and the REAL Mozartian style.
Cissy97 1 month ago
i was stunned to hear that she was singing susanna and not the contessa. That would have been much more appropriate
asx5252 4 months ago
Terrible.
DragWithNoPenis 5 months ago
@DragWithNoPenis Io are so right! She has no style!
ferrykalos 4 months ago
If in one or two generations we look back to great Susanna's she will likely not be one of them...
TommyHaegin 7 months ago
brutto
tosca8 7 months ago
brutto
tosca8 7 months ago
in terms of voice types I would say that Roschmann would have made a better Susanna than Netrebko but they were both fantastic nonetheless.
Mike98861 7 months ago
I think that the aria has lost its own simplicity in this performance. I quite like it though :) interesting, Anna!
AliceOperaPiano 10 months ago
Anna is one of my favorite but i think her recit is to slow to sung....if that makes any sense at all
jasi0190 11 months ago
Clearly those who think her voice is too heavy have not attended many Figaros in the great houses, as I have. It's always refreshing to hear a different sound quality in this role, just wishing those few high notes weren 't so flat.
rumpwrestler 1 year ago
@rumpwrestler
Anna Netrebko is one of my all time favorites, but she's not a soubrette, she is a Lyric so her voice is a little heavy on this piece. It's entirely the wrong fach for her. But she is very talented she can pulls off the wrong fach beautifully! : )
slindylee37 1 year ago
@rumpwrestler ahaha, sorry to laugh, but your comments do not go with your nick:))
rumpwrestler...
Nemogudasesetim 1 year ago
for who is this song in the opera?
tlacubo 1 year ago
@tlacubo
Susanna is singing about the Count to make Figaro jealous, in most versions you can see Figaro hiding in the bushes and listening!
slindylee37 1 year ago
wow her voice is quite heavy for susanna.......but till, i kinda like it.
IvanDennisovich 1 year ago
Awesome!
paulostroff99 1 year ago
i love anna<3
TheBellarina86 1 year ago
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Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
IrinaMataevaSucks 2 years ago
This has been flagged as spam show
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
IrinaMataevaSucks 2 years ago
This has been flagged as spam show
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
IrinaMataevaSucks 2 years ago
This has been flagged as spam show
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
IrinaMataevaSucks 2 years ago
This has been flagged as spam show
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
IrinaMataevaSucks 2 years ago
This has been flagged as spam show
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
IrinaMataevaSucks 2 years ago
This has been flagged as spam show
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
IrinaMataevaSucks 2 years ago
This has been flagged as spam show
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
IrinaMataevaSucks 2 years ago
This has been flagged as spam show
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
IrinaMataevaSucks 2 years ago
This has been flagged as spam show
Traviata - Ms. Netrebko displayed ample power, coloratura bravura with a marvelous tone Having recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was impressed by the legato nature of Netrebko's portray in contrast to Dessay's intentional staccato, fragmented phrasing interpretation. Having also seen photos of Fleming in her current Violetta at the ROH, one can only marvel at Netrebko's resilience, endurance and commitment to bel canto opera.
IrinaMataevaSucks 2 years ago
Beautiful, very beautiful, thnx for posting this video.
polarbear475 2 years ago
striker you`re just a mental case. Go and see a doctor you perverted p...yourself
seetsebea1 2 years ago
Her Mozart is really one of the top achievements of this sublime artist. She has the purity, perspicacy, simplicity, sober elegance and a sort of childish ingenuity that are the most difficult requirements for Mozart, the Goya of music. She reminds me everytime Elisabeth Schwarzkopf under Furtwaengler. Here on YT there is another legendary performance of hers: D'oreste D'Ajace in Salzburg. Colossal.
ad80ad 2 years ago
Yeah, when I read she was in Figaro, I thought to myself "she must've been the Countess"...and then I hear hear sing this...it's just weird. I still love her though.
ihaveloosefeet06 2 years ago
She makes the singing too difficult here, the aria is supposed to be sung very lightly as it is not a very dramatic piece.
sopera123 2 years ago
This was not too good.
moltoallegro19 2 years ago
can't sing in heaven unless you're anna netrebo.
baird292 2 years ago
This is nice. A dark voice makes an interesting change for Susanna. More colours than the more typical lighter fach soprano normally chosen.
orewa14 2 years ago
Last warning!
Shut your cheeky mouth.... and fuck off.
belmanotre 2 years ago
Ann has seen her better days. She is all done. The critics are slamming her badly.
She is heavy now, and lost her cute looks. She is a MISS PIGGY look-a like!!!
striker9410 2 years ago
beautiful aria :)
arejn5 2 years ago
She sung it well.
tsena6 2 years ago
Strikernosequé...estás como una cabra.
estanteriax 2 years ago
Didn't expect to like Trebs as Susanna, thinking her voice was too dark, but this was an unexpected pleasure. Think I'll get the dvd.
snapeyes 2 years ago
This comment has received too many negative votes show
Anna the SOUBRETTE!! She should go back to the farm, and she can call the little piglets in to suckle.
striker9410 2 years ago
Everything I see of this performance is so beautifully staged. I thought her singing and acting were both very good and I liked hearing a Susanna who's not quite so girlish.
Habrolissimo 2 years ago
Fantastic dress though. I want to wear it right now.
elvenlove 2 years ago
I have NO idea what it is about her voice but I can't bring myself to like it. I adore her acting though.
KitanaiBaishunfu 2 years ago
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FILAREDO her big fan continues to diss Callas. Everyone cum in Anna the russian sows mouth.
striker9410 2 years ago
I'm all in favor of unusual casting choices if they work. Of course, being a light lyric, I usually like to see it going the other way. I'm not as happy when the heaviest voices are cast in everything.
Urcheon 2 years ago
Mrs Netrebko is excellent , but she is not a Susanna. She is certainly an exquisit Countess,but her Susanna is just not what we expect.
amonasro100 2 years ago
Like Alagna's recent triumph in Carmen at Covent Garden and Mattila's Tosca at the Met, all of these will receive the same top fee: 15,000 Euros. This fee, 15,000 Euros per evening, net, is reserved for the great voices.
ihidemyself 2 years ago
Praised both for her glorious voice and beauty, Anna Netrebko is acknowledged today as one of the world's most stunning young sopranos who sweeps audiences off their feet wherever she appears.
ihidemyself 2 years ago
"Audrey Hepburn with a voice."
New York Observer - Charles Michener
ihidemyself 2 years ago
Anna can be loved or hated here!She
not a fake... people who can tell it,nothing understand in an opera or envy her!
JaneHippon 2 years ago
I'm not a fan of Netrebko and her voice is not expressive enough for me, just very standard and nothing remotely striking like singers of the 20th century. She's a post 2000 singer and they all seem to sound very generic to me. For the Countess, a touch of melancholy and quiet dignity (but not a passive quality) is needed. She's a strong Countess who is deeply hurt but maintains faith and hope.
MastersoftheOpera 2 years ago
Very interesting. It Susanna, not Countess.
Eigenvalue100 2 years ago
i agree.
dks880 2 years ago
slow or not.... she's sings this aria beautifully, simply.
tenorboston 2 years ago 10
She's a fake.
zalivnoe 2 years ago
You're an idiot.
glitterZOMBIE12 2 years ago
yes, she's a fake.
dks880 2 years ago
Comment removed
dks880 2 years ago
fool hahaha
xxilovenightwishxx 2 years ago
Dark interpretation, Harnoncourt sounds like he is looking at the more dissonant side of Le Nozze
Slow tempo, dark timbre. Surpisingly it works. Different at least.
orewa14 2 years ago
Anna is every man's fantasy and desire. You all ladies are just jealous at her perfect voice and flawless beauty.
Trowkr 2 years ago
At this tempo it sounds like a nursery rhyme! Jeeze! I guess it's easier to sustain "a tad" faster. Lucia Popp come back please!
XPRT10R 2 years ago
Don't blame Netrebko. Blame Harnoncourt. I really think that when he conducts you never know whether he's going to play a waltz like it's a requiem or vice versa.
Venite, inginicchiatevi he conducted very slowly, and she sang it quite well.
As weird as Harnoncourt makes it sometimes, there's nothing quite as boring as Mozart--or any composer's music for that matter--conducted without ideas brought to the table, so I'm thankful for that.
LilMack549 2 years ago
I love this one, I think you just dont know what opera is and only listen to the most famous ones like Magic flute or so.
Opera isnt always like that guys -.-
This is some good opera, its just not fantasy kind of shit.
5 stars for that :)
Nebelmonster 2 years ago
Wow. Most boring opera singer AND aria of all time team up to drag tempi and suck the life and passion out of humanity.
The conductor was OBVIOUSLY trying to push the tempi, but I guess her programming doesn't allow for on the fly adjustments.
DemonTaoist 2 years ago
Her technique doesn't allow movement, rather.
xgianpatrick 2 years ago
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This sucks! Time for me to listen to Lucia Popp.
thugman30 2 years ago 12
Popp was great, but this is much better. Great perfomance.
TedMichaelMorgan 2 years ago
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That was absolutely gorgeous!!
operavictorian 2 years ago
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bellafredina 2 years ago
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bellafredina 2 years ago
Mozart lui va bien. Elle en fait pas des caisses. C'est mieux.
isabelle070209 2 years ago
Shouldn't her voice type sing the countess?
Chilair1 2 years ago
ummm she should do a silent role.
thugman30 2 years ago
Miaow!
jamarsano 2 years ago
She can sing anything.
donny558 2 years ago
She can sing all the phonebooks from all over the world.
marnier910 2 years ago
LOL that's what I'm thinking when I hear this..her voice is way too heavy for Susanna.
romarius2005 2 years ago 7
@romarius2005 She has a lovely voice but I am surprised that a soprano is singing the role of Susana which is a mezzo-soprano
truvianni 8 months ago
@truvianni Since when is the role of Susanna a mezzo?
aeru9 6 months ago
@aeru9 Since Mozart first wrote it! It has always been a mezzo-soprano's role.
truvianni 6 months ago
@truvianni so untrue! In 1700-1800, there was no mezzosoprano, and if you would look into the score, you would see that there is not a single mezzorole in "Figaro" (yes, even Marcellina is really high in her 4.act aria). If there is a mezzosoprano, take Cherubino (and even Cherubino is a soprano, the first Cherubino was to the first Despina).
aeru9 6 months ago
@aeru9 I did not know that I just checked it and it is true there were no mezzos at that time yet I was aware that Cherubino was a mezzo well I have always heard that part performed as such thanks for the information
truvianni 6 months ago
@truvianni yes... and sorry for my harsh tone... I did not want to be rude or something...^^
aeru9 6 months ago
@aeru9 no need to say sorry on the contrary I should thank you you for informing me and I say sorry to you for I spoke with errant knowledge actually I write a lot of article on the subjest of opera and have even writen a book "New York's Opera Society" so by telling me this you have done me a favor if you care to read some of my article google my name "Truvianni"' I usually do not make such mistakes so grazie
truvianni 6 months ago
The piercing sharpness sound in her voice will elongate when she sings the Countess. That would be very very painful.
FlyingElephant20 2 years ago 2
I prefer Bartoli's recording of this.
dks880 2 years ago
This comment has received too many negative votes show
Netrebko's recording is way better than Bartoli. Bartoli is a cow.
donny558 2 years ago
lol exactly. I don't understand all the Bartoli praise when it comes to Susanna's role. I am a Bartoli fan, but she sounded terrible in Susanna, and even worse in Semele.
romarius2005 2 years ago
whoa, what's up with you guys critisizing these lovely opera singers??? They sound very lovely ,there is nothing terrible about thier voices. You guys are blindly deff!!! I sware to God!
ShabhanaHusain 2 years ago
People are very mean on youtube. i made a comment on a song and every last person took it the wrong way i was called all kinds of bad names and such. People are so criticle, I am sure they will critisize my spelling and such
goldie1102 2 years ago
I knwo hey?..cause they have nothing better to do and the best they can do is to critisize your spellings because they have nothing ot critisize cause they suck and should go hide before they get critisized
ShabhanaHusain 2 years ago
I have sung this role and, although slow, it is really lovely.
thorhallamoonsinger 2 years ago
This is so sluggish. I'm bored.
R.I.P MOZART
thugman30 2 years ago 2
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filaredo 2 years ago
She's going downstairs to fuck the gardener.
thugman30 2 years ago
not the conductor?
xgianpatrick 2 years ago
WTF the conductor is on LSD. Netrebko didn't have to.
R.I.P MOZART
thugman30 2 years ago
i love anna, but i don´t like so much in this role
dalilulis 2 years ago 2
Me too. I also dont like her in Traviata.
winston874 2 years ago
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the whore
eternity8271 2 years ago
@ eternity8271
what a stupid com
anonymusum 2 years ago
xgianpatrick, I always knew that you were an alcoholic. Please do us a favor, seek
treatment and leave Anna alone!
sorkin777 2 years ago
As usual, a senseless rant of a rebuttal from a Netrebkoite. No one addresses her style, pitch, production, or rhythm issues...only that she 'lives the part' or 'has a wonderful time' or 'clearly enjoys herself'. Yes, but she can't sing. Call it a hunch, but I bet your hands are sticky.
xgianpatrick 2 years ago
xgianpatrick , I see you only enjoy bad sopranos and ugly ones too!
sorkin777 2 years ago
xgianpatrick, I always knew that you were an alcoholic. Please do us a favor, seek
treatment and leave Anna alone!
sorkin777 2 years ago
Sua voz é muito pesada para cantar Mozart, ainda mais em se tratando de Susanna, que é para vozes leves. Alem disso, ela canta com a mesma cara sempre. Nao vejo intenção em sua face ao cantar. Ela poderia exagerar mais um pouco pra ver se aparece algo. ihihihi E dicçao, cadê? Italiano é uma lingua com consoantes e vogais puras, facéis e otimas para o cantor. Portugues tambem, so que menos que o Italiano. Em suma, nao gostei!
JEANHIKER 2 years ago
Love Netrebko. Don't like her in this role. She's not the "Susanna" type.
wanzenettl 2 years ago
My 10 favorite sopranos.... singing Verdi, Bellini, Donez:
R.Strauss,... Callas, Ponselle, Muzio, E.Schumann,
Lotte Lehmann, E Rethberg, E. Berger, Tetrazzini,
Galli-Curci, Tebaldi.
Cheers Xgianpatrick regret lack of todays sounds.
schlusnus 2 years ago
Dear Pourmoinyc. How correct you are. The golden age of
singers has passed except a few.. one can only compare and
knowledge and experience of past singers, tells the truth.
Name your ten finest vocalists and I'll name mine??
schlusnus 2 years ago
The singers of the past are wonderful, but there are stupendous singers today, too (not Netrebko, agreed). Von Otter might get my vote for best singer of the past 50 years...Pregardien, Scholl, Margaret Price...Gruberova in her prime (not so long ago) was matchless...Auger, Bonney, te Kanawa. Perhaps the dramatic voices don't match up today, but many lyrics are sounding great.
xgianpatrick 2 years ago
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I hate this! Netrebko whouls stick to what she is mediocre at - 19th century opera.
Absolutely the worst rendition of this ever!
Hearnoevil8 3 years ago
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I have to agree with you. TOTALLY AGREE.
PhoenixFlowerSophia 3 years ago
Thank you for that commentary. I appreciate it.
TedMichaelMorgan 3 years ago 2
Amazing instrument.Great breath control and clear diction.
Her fluid voice easily expresses a broad field of feelings.
A new great singer to take note of.
Ms.Netrebko is a force to recon with.
Much success Madame.!
pourmoinyc 3 years ago 2
Well said. Well said.
TedMichaelMorgan 3 years ago
And don't forget: it sure doesn't hurt a career to look like a model either....whether this is more the point to her or the singing...Would she really be "so amazing" if she wasn't so beautiful, and had the amazing publicity machine behind her (or I guess she's driving it herself - she's a grown up who is making her own choices).
Haaxma 2 years ago
Haaxma dearest..I'm into VOICES not faces and the publicity NEVER makes a singer sing better let alone superbly.
In my tender 92 years of age I have heard a singer or two from Victrola to C.D's and believe you me I know the difference.
I'm OLD not deaf.
You either like her or not.Period.
pourmoinyc 2 years ago
Dear pourmoinyc, I am so glad to hear your opinion! I love Anna, I just heard her in Lucia, that was superb - her voice her looks, her acting - everything was amasing! Unfortinaletely there are lots of idiots out there who are alowed to post stupud comments about a wondeful singer. She was nominated the best soprano in the world! (March 27th of 2009 story in the Times (UK) titled The 20 Best Classical Divas.)
sorkin777 2 years ago
I'm so glad to know you understand what singing is all about.This young naturally talented artist never sings a role,she lives it,posses it and it makes you feel it intensely.Of course she deserves the nomination of best worldwide soprano in 2009.Hard to compete with perfection.
If she was blessed with beauty,talent and knowledge we are the lucky ones for been able to share it.
The ones that sing do so,the ones who can't just critique and try to bring them down to their mediocre levels.
pourmoinyc 2 years ago
And you've been around 92 years and say this is a talented singer under the vocal point of view?!
I'm starting to think you're old AND deaf.
eradesso 2 years ago
ERADESSO: good news!!.Thank you so much for your advise I bought a hearing aid !!!
But now I realize you need help....
Do they make any aids for stupid simple mined offensive and retarded??
I'll be more than happy to buy one of each for you...
OOOppsss...sorry...I left out UGLY...and there is no cure for that.
But what do I know?? I'm just 92 and a little deaf.....
pourmoinyc 2 years ago
ugh she's so good. saw her in La Boheme last year at the Met - she can project like a monster too, without pushing or anything. such a big instrument.
baritone426 3 years ago
Anna is amazing.
IbranandoBaritone 3 years ago 2
It seems to me that the recit is a little labored and doesn't flow like actual spoken Italian... am I imagining this? It is something I'm just starting to understand myself, so perhaps I'm looking for it....
jlouisecoe 3 years ago
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Not only the recit is labored but the aria as well. I couldn't get through the whole thing.
jae218 3 years ago
agreed! none of it flows very well...the way she sang the language, her phrasing...just didn't seem to fit stylistically...
pyroangel820 3 years ago
Does anyone find the tempo a bit brisk? I know Netrebko's voice is an issue of contention for many opera fans...but I have to say her voice is extremely unique and distinguishable...which is something to be celebrated. I actually like her subtlety and control here...and I think it's interesting to hear the aria in a darker voice, in my humble opinion it works nicely. Lucia Popp remains my favorite though.
yesblanche 3 years ago 4
This comment has received too many negative votes show
1. Some (such as I) like 'brisk' tempi in compound-meter Mozart, as this. The harmonies move too slowly to support a slower tempo.
2. It takes a much better voice to sing it more slowly, anyway. She has not the requisite control of breath or of pitch to pull it off. Remember that this is the woman who couldn't get through the first four words of 'O mio babbino caro' in one breath at the Kennedy Center.
xgianpatrick 3 years ago
xgianpatrick I wasn't insulting the maestro's interpretation just making an observation compared to a few other recordings I've heard....and yes you're right Ms. Netrebko's technique has flaws but like I said before I find the color and size intriguing. I'm not a classical musician just an avid listener so it's never my intetntion to offend anyone's musical sensibilities.
yesblanche 3 years ago 2
People like me don't know the techniques of singing, the languages, or the music. I do know that I have heard many interpretations of this work and I appreciate differences.
I do appreciate the commentary of those of you who know what I don't know.
Thank you for posting. My old music teacher told my parents that I alway gave her a fine lesson in the history of music but that they were wasting their money with my lessons.
TedMichaelMorgan 3 years ago
I figure it's never right to assume everyone who writes comments here knows what they're talking about. And anyway, you know what you like or don't like, and seem like you've listened enough and have for this reason as much right as anyone to pass jugement. Having said this, I rather agree: In find Netrebko makes this aria seem quite bland. I guess Mozart is not really her thing.
Haaxma 2 years ago
xgianpatrick ma non hai ancora capito che sei un inconpetente? ma vai a fare altro!
xgianpatrick but you have not still understood that you are a inconpetent? but you go to make other!
pasielu 3 years ago 2
I agree with the observation about the tempo but it seems to be more the desicion of the conductor in this case becouse is really noticeable that she is trying to drop it down and that finally happened at the final of the aria.
DanIHri 3 years ago
I totally agree about the tempo. But apparently some freedom has been taken for this aria to many directors, and somehow this freedom is exciting to taste a different flavor of very recognizable piece.
About Anna, I love her, I really love her. But some time ago I started to prefer Diana Damrau and I think She did it better in this aria. But it's just my opinion and I respect who think different...
yodavidnavarro 3 years ago
Yes Diana Damrau is wonderful. I had the immense pleasure of seeing her Lucia at the Met a week or so ago and she was absolutely splendid.
Wasn't such a huge fan of this season's Don G. though....although Erwin Schrott (who I believe is Ms. Netrebko's husband) was great.
yesblanche 3 years ago
I like this tempo, and it is the way Mozart intended in his marking...but it is rare in today's productions for people to take it so fast. The toughest spot for this tempo is "ti vo la fronte incorora", and the conductor did a rit. to accomodate. I enjoy it, it is different. Difference should be celebrated!
BaroquePearl419 3 years ago 5
BaroquePearl419 I agree in your assessment that difference should be celebrated. Thanks for the information.
yesblanche 3 years ago
The tempo is perfect. This is an impressive proformance.
TedMichaelMorgan 3 years ago 6
The way Netrebko sings Mozart recitativi is something unique and astonishing for clarity and expressivity
ad80ad 3 years ago 6
Better you buy some record of Anna Moffo and Melitta Muszely and Lotte Rysanek and Ingeborg Hallstein...darling dont dare!....VIVA LA MUSICA
Heraopera 3 years ago
I know all of these singers, but in Mozart I prefer Elisabeth Schwartzkopf. Schwartzkopf is the only one comparable to Netrebko for me, in vocal purity and elegance. But Netrebko is far better musically, because she is not only "singing", she possesses totally the text. And she likes to experiment much with vocal technic, assuming even certain risks. But the courage is the first quality a real artist must have.
ad80ad 3 years ago 4
Schwartzkopf loses to Netrebko in Mozart? Are you joking? She has no control over her voice! Of all the composers she should not approach (i.e. most of them), Mozart is #1. Jesus, Mary, and Joseph...I need a drink...
xgianpatrick 3 years ago
Agreed!
KatherineXIX 3 years ago
I knew her voice (many times fom vienna to Met etc) and how it sounds live! She sounds on records boring BUT BETTER THAN LIVE - her voice is nothing special! She will be forgotten in few years..... And she is not able to sing LIKE A REAL GOOD soprano leggiero! She is an product of the recordindustrie! She is cheap sweet looking and a OPPERATTASOPRANO and certainly a POPSINGER! This is reality! Pardon for your ears----think that youre not an livevisiting enthusiast...?
Heraopera 3 years ago
Who said Mozart is without portamento Don Giovanni07? Your vocal teacher? BUAHUAUAHUAHA. I suppose you read all the vocal manuals of "Scuola Italiana di canto" that belogs to Giulio Caccini and continue until XIX century (and Mozart studied with an Italian singer). THIS IS NOT MASCAGNI, THIS IS MOZART.
ad80ad 3 years ago
And Mozart like all opera composers till Bellini must not be sung with portarmentos.
Mascagni can be sung with portamento like all verismo composers if the interpreters see it fit.
before laughing at someone make sure you've studied a little
idraote 3 years ago
But from French Grand Cri to Wagner to Italian Verismo that vocal tradition was more concentrated on the vocal emission power and "beauty" in abstract, more than to express "affetti". So this is often the monolithic way of singing taught today. To sing Mozart and Bellini with a voice firm, homogeneous, with a lot of vibrato, is NOT CORRECT. It's not "In quella Reggia" nor "Isloden Liebestodt". I'm not a singer, but it seems I know singing more than you.
ad80ad 3 years ago 2
Who said that bullshit? You know, if you read interpretation manuals of Caccini etc. that for EVERY musical situation there are mode of singing, like "sprezzatura" etc. In "Recitar cantando" for example a singer could attach the firs pitch of a phrase a THIRD UNDER THE NOTE and make a portamento and this well BEFORE Bellini...these are not only "natural" attitudes for every REAL musicians, but even well hystorically documented. And Mozart vocality belongs to that great italian tradition.
ad80ad 3 years ago 6
she darkened her voice the whole time FOR WHAT? I cant understand this kind of voiceproduction and this role has to be more prepared (the legati and the parlando!) she is not a operasinger - she is an popsinger of opera!
Heraopera 3 years ago
Off course she darkened her voice because we are bored to hear FLUTTERING and we want to hear SINGING.I'm sorry for you:-)
ad80ad 3 years ago
She has an amazing voice, no doubt. But not for this role. Susanna's role I think should be a bit lighter than this. She sounds far too...well...the only word I can think to describe how she sounds is coloratura for this role. This is truly a lyric role in my opinion.
WingsOfAnAngel42 3 years ago
The tempo of the recit. is far too slow. I tend to agree with the general comments that she doesn't suit this role. It seems to sit too low for her... I admire the fact that they didn't do the extra ornamentation near the end.
elisarig 3 years ago
Not bad, but I don't really think the role of Susanna suits Anna Netrebko very much.
annao273 3 years ago
Her voice is much too dark to sing Mozart. She should stick to the Russian stuff.
swanningaround 3 years ago
yes, like borscht.
xgianpatrick 3 years ago
any type of voice can sing Mozart, big or small, dark or light, provided the technique is spotless, the voice pure and soft.
Great Christa Ludwig could sing Wagner, Richard Strauss and Mozart very well, Birgit Nilsson has sung a magnificent Donna Anna
idraote 3 years ago
The tempo of the aria is much too fast.
AulicExclusiva 3 years ago 3
I really like Netrebko voice but she is not the right for the role of Susanna. The best performance, by far, I've seen of this aria (posted) is by Lucia Popp hands down.
SangpourPlaisir 3 years ago
she is not good singing mozart, she must respect that in mozart there are not portamentos and she makes a lot of them
DonGiovanni07 3 years ago
revallen - Don't think Renee Fleming has ever sung Deh viene non tardar at the opera. She has sung the Countess but not Susanna. Please try not to think of Fleming as the vocal standard. There are MANY singers at her artistic level.
sonofvangie 3 years ago
nice voice
espadrille8 3 years ago 3
Has anyone heard Fleming sing the same aria in performance? Her interpretation is superior, but her singing is different and both are excellent. I can't fault Netrebko. The only thing I have heard her sing which was just done at the wrong tempo (blame the conductor) was "O mio babbino caro."
revallen 4 years ago
fleming is far more likely to sing the countess. In fact, I don't know that she sings susanna ever...at least not that I recall. So, i think the comparisson makes no sense.
magicj530 4 years ago
no, fleming has only sung contessa
operalover9001 4 years ago 5
Do you have any clips from the Don Giovanni production? I am dying to see Christine Schafer's interpretation of Donna Anna's Arias!!!
hillevifan 4 years ago
Yes, hillevifan... there are some videos on youtube with Chistine Schafer and Piotr Beczala as Dona Anna and Don Ottavio, ok? Salut!
dalferr 4 years ago
Don't even mention Schäfer in this company. Christine is far and away superior to this.
swanningaround 4 years ago
I totally agree...but I saw that this was part of the new Salzburg DVD's and thought they might have those scenes. Christine is 100000X better than Netrebko ever will be!!!
hillevifan 4 years ago
she is so behind the orchestra!
jimmyisalmaviva 4 years ago
These critics, if they have ever sung, would realise that the very second one starts to sing, one knows at once what the result is going to be? Get it right, and you are away with the flowers, or the stars? Get it wrong, and it is one shell hole to another. Anna has never suffered from either. She is spot on everytime. Viva Anna, you are wonderful!
eddyashley 4 years ago
Does x hope that others will change their opinion of y after reading x's comments?
suvorov4 4 years ago
xgianpatrick,
When x seeks out everything that y does and finds pleasure in making degrading remarks about it, that is strongly indicative of x's complexes. Now lets imagine that x is a secure and self-confident individual, who nevertheless (such an individual is more likely to like successful individuals such as y) does not like y. What will x do? X will not listen to y but instead will concentrate on the other letters of the alphabet!
suvorov4 4 years ago