You guys, she's going for projection here- she doesn't need to be forward for this aria, she's depicting a furious woman who's meeting an unjust death sentence. She's not being a bad singer, she's just being smart. Besides, this is a dramatic aria that's not coloratura intensive. Bravo to her!
I love the emotion that opera brings out in people. I have listened to people say how terrible Sutherland is--I think she is great. How Callas was perfect--she wasn't she was great, not perfect. They hate Pavaroti--I think he is the greatest, to me. Now Netrebko is awful--but I think she is pretty terrific. There are some singers that people love, not my favorites. But is doesn't mean they are terrible. Just not MY taste. Hearing the crowd respond to live from the Met, they loved it.
@8Goldie But they didn't, and it doesn't seem they will at all. I think that's quite meaningful... The good thing about art is that nothing is a crime. :)
@DiomedesDioscuro This is not a bel canto, she's too rough, let's be honest. I'm not a hater I love her, I love how she is eager for art and she sings marvelous, but this was too much, not her fach at all
@8Goldie It's all screaming to me, and over acting. I don't know how people can enjoy someone screaming out words and acting like they are in a silent movie. I think if Anne Boleyn had to listent to this she would chop off her own head.
@zucchini2007 She probably does, she's getting her head cut after being accused of adultery... "Coppia iniqua" doesn't sound like a declaration of friendship.
WoooooW, so much hate... She is very good in this particular role and this video actually made me go see her perform the same role at the MET last year. I loved it and everybody in that production was very good. She is great and (eat your hearts out) she is beautiful!
This wench is out of her league singing this assoluta role! She doesn't have the coloratura, she doesn't have the chest tones, she doesn't have the high notes, she has no breath control: gasping for air like a fish out of water.
I haven't listened to this singer in over ten years and am saddened what I was thinking then has obviously unfolded. The voice is beat, there's been no more musical schooling or stylistic betterment of the rep she sings and every character she portays reminds me of my bratty 13 year old neice, whether it be a Queen, a peasant or spurned lover. Her pitch is bad, accuracy is optional, no trill , and she is still interpolating "high notes" that are no longer there! I'm sure she has made a fortune.
I don´t understand why people are so mean when they don´t like a singer. I understand if they don´t sing well or don´t have a beautiful voice, but that doesn´t give us the right to be mean as hell and worse, writing here nothing but lies like the rest of us are deaf and can´t hear. I apologise whenever I´ve done it, if I´ve done it. What I want to say with all this, is that I´m not Ana´s fan but still can appreciate the beauty of her singing and what she has done for opera until now. Brava!
@ezayi She had a time when her resonance (position) was really god. but now the sound isn`t forward enough and it sounds a bit veiled. It doesn`t sound as a big difference... but it`s very important since it makes the coloratura easier.. and sounds prettier:) Now really... not many people hear this. That`s why usually some more technical ppl or snobs or whatever don`t like her singing. she has a beautiful tone but she just takes away from it, controlling it too much.
@Serinia4melodic She still has a wonderful timbro and she have done everything she wanted if she just decided to study! But she is completely out of mind choosing this repertoire without having the proper technique!!! She is really hanging herself on, and the DG at la scala is the witness of her vocal decay: the sound is backawards (veiled and not always projected), she is many times out of tune and she really overact too much!
@Serinia4melodic Completely disagree with you in the "isn´t forward enough". A lot of people do that and that´s what´s wrong in their voices. Too much forward and no soft tones. I think she sounds perfectly fine.
@ezayi you get the soft tones from the resonating position.. which is the forward position. You actually have to have 2 positions.. when you think of putting the sound in the forward behind the nose position.. and the behind/fill your head type. Unifying these creates the squillo opera-voice. Netrebko has the filled head/resonator position and a bit veiled forward pos. My teacher also agrees with me.. the difference is that she can sing coloratura rep better then Netrebko:P
@65attila her voice isnt light or insecure and i found no wobbles in her voice. and im sorry but joan sutherland doesnt even come close to the brilliance of Anna
@danefritz2006 I'm not going to deny that Anna is a very talented woman, and technically sound but you're cracked if you think she is comparable to Joan.
@65attila Have you heard her live? I heard her at the Met in this role, and she's improved a lot since Vienna, I liked her performance at the Met, and the voice sounded big, not at all light.
Nice otherwise, just came back from the MET to hear her singing ibn the exact same role and I msut say her MET Coppia was a bit better then here, more dramatic.
@LaLunaDellaNotte Wonderful, I can't wait to see it in a movie theatre on October 15. If is so wonderful I will try to get tickets for the Feb. 1 performance if I can and come to NYC for that.
giusto criticare, ma se non fosse per m. devia opere come Bolena, maria stuarda, lucrezia borgia, puritani, norma, etc sarebbero sparite dai nostri teatri da tempi immemorabili....magari questa cantante o altre sue colleghe di oggi potrebbero essere interpreti valide di questi titoli in via d'estinzione. Mah, non capisco; si preferisce non fare più bellini e donizetti che provare con un pò di coraggio qualche voce. Come al solito all'estero qualcuno ci prove e noi stiamo a guardare!
By amateur standards, this is good. By international, brand-new Met production standards, this is crap. I get it, good opera is few and far between, but for $150 a ticket I want more than this. I can't hear anything in the lower register, and her "trills" sound an awful lot like every other note she hits. Maybe between April and now she has improved, but I'm not putting my money on it
Why does she keep doing the "I'm going to lay down and sing backwards" thing? She did the same thing in I Puritani at the Met. That said, she does well, but I'll take Sutherland or Sills over her.
@brolobear Actors/singers don't decide whether to lie down, sit, or stand up. The director decides all the stage movements depending on his conception of the action. On this occasion, she had to lie down so that the guillotine would come down on her neck!!! She is about to be executed. The director decided to have a guillotine in stead of the executioner's axe. He wanted the action to take place that way. It is true though the modern trend is for a lot more movement on the stage than before.
@Ariadne7710 I'm glad you said that, because I agree with you! And I thought the direction was very effective. They changed the staging of the ending at the MET.
@brolobear Because she had to lie down under the guillotine which is slowly coming down on her neck. She is being executed!!! Ask the director why he wanted it done like that. It was his idea!!!
@brolobear what a silly question. it's a habit. Netrebko always had to lay down, especially backwards, to actually GET THE PART... especially in her sadly gone coloratura days. I miss those. At least it was funny to listen to her destroying every role from Gilda to Violetta, through Lucia and Elvira.
Now we just have to listen to her pushing and screaming and overdarkening and it's not even funny anymore. No trills, no breath, support so weak that the diction is just a uthopia.
Comunque sono solo un appassionato che non ha studiato, però ho ascoltato tante registrazioni del passato e forse il gusto di oggi è un pò cambiato: l'interprete oggi è a servizio della parte, forse in passato era un pò a rovescio.
Questo creava interpreti più liberi, grandi, personali, emozionanti. Forse però era meglio così, l'opera era più varia e viva, una scoperta ad ogni esecuzione, più emozione (ma non sempre fedele all'autore, tagli e arbitri). Fedeltà al testo=esecuzioni più "standard"
Sono d'accordo su alcuni difetti tecnici (fiato e "spianature"); a me sembra che abbia tutte le carte in regola, solo che a volte semplifica (pigrizia? paura?); i dettagli a volte non sono sempre accuratissimi, però il resto c'è tutto. "Dilettante" nella lirica non è offensivo ("dilettanti" celebri: Verdi, Wagner, Corelli, Pavarotti). La bellezza x me non dovrebbe essere un pregiudizio (pare che nell'800 apprezzassero molto la bellezza e la credibilità scenica delle cantanti). Sono solo opinioni
To what extend Rossini, Donizetti or Bellini, allowed singers to add embellishments is speculation. We can't be sure since there no recordings of that time only odd letters and hearsay. Isabella Colbran for whom he created many of his operas was Rossini's wife so I doubt that she would add anything without his approval. Textbooks on early 19th century opera suggest that Bellini was not at all keen on additions. Poor Donizetti seems to have been the biggest victim of overembellishment by divas
Penso che 33 pagine di commenti la dicano lunga sull'interesse per questa cantante, e se lo merita: la voce è bellissima, emissione naturale soprattutto nel registro acuto; ha imperfezioni tecniche (fiato, abbellimenti vari) però rende bene il personaggio, con il giusto cambio di accento (qui è davvero aggressiva; nell'aria "al dolce guidami" sa essere molto morbida e dolce). BRAVA, forse in passato c'era più scelta, però ora è il top! Il personaggio e la musica sono vivi quando lei canta!
A comparison with the score reveals that Ms. Netrebko only manages to "approximately" sing what is written. Pitch, note values, rhythms, slancio, pronounciation, her trill are all very poor. On the other hand she does have beauty and presence and a relentless PR machine. I DO like Netrebko as Manon, Mimi, Juliette, Zerlina, Susanna, Adina - she excels in these light lyric roles but in the big bel canto roles she is stretched beyond her abilities.
@jetaimewarren Surely you must be joking:)))) Sutherland's Bolena was a disaster. Full of wobble, screeching and transposed down for her to be able to cope with the high notes and transposed up to avoid the low ones. She left it way too late. She was 58 and a lot of the voice quality and high notes had gone by then. Nothing to do with appearance just vocal ability and range. And who decides what is fact?
hCallas had a nice voice and talent but a lack a bit of technique thats why her carrer went down because she just coudnt sing anymore. SHe had a so much casisma thats why she is the most famous and of course in those days with the life she was living evryody talked about her. She made scandals and front pages of magasine with batrayal stories with her billionaire boyfriend Onassis. But she COULD NOT sing like that remove that from your head people !!!
@jetaimewarren Callas lost her voice because of drastic weight loss, questionable choice of rep at an early age and possibly amphetamines / depression; saying her technique was lacking is a superficial read of a complex career.
People sing for years on poor technique; Netrebko is a case in point.
Gasping through phrases, sullying the score with scoops, errant embellishments, abridging difficult passages, & holding notes to impress an audience is not only a flaw of technique; it's systemic.
@jetaimewarren Oh really? You saw her I suppose and can make judgements like that!!! Her big international career started in 1949 when she sang I Puritani for the first time in Venice and became instantly a vocal phenomenon. She lacked technique? Are you serious? She sang all the big belcanto roles all over the world for 10 years before she even met Onassis. I know because I actually saw some of those performances live. Did you? Or did you just read the gossip columns of trashy magazines
Video of a wonderful and unusual quality compare to the average YouTube set. Which is what I was looking for as Anna "acting" is matching her "singing" by combining colors making a superb visual and audio experience.
Callas (WOW, I'm posting too much). However, maybe Netrebko doesn't reach the high trills as well as I'd like to hear them. And sometimes her acting is a bit lifeless or too much, although it all depends on the productions she's in.
All this said, I admire your courage for posting something you know is gonna get you insults from some very polite Youtubers, because their mommies didn't give them too much love when they were kids or some creepy movie-psycho-killer excuse like that.
@vivelhistoire And replying to comments has nothing to do with whether you had love from your mommie or not. Musicians enjoy having discussions about music of any kind whether they agree with each other or not. It keeps music alive. It is a subject of intense interest to them and You tube is just another vehicle of finding people you enjoy discussing a subject which interest you with. Of course there are loads of people who know nothing about it and talk a whole lot of nonsense.
This said, I think Anna Netrebko has a very untypical voice (I don't know very well the technical terms, sadly... and YES, still I have the pretension to comment... never said I was perfect :D), with some deepness even when she's reaching high tones (unlike Callas or Sills, whose voices were extremely light, even when singing lower notes). This adds dimension and depths to character she sings, as if her voice gave them different personalities than the Bolena or Violetta interpreted by Sills or
@vivelhistoire Since you say in your post that don't know too much about operatic singing, if it is something that you find interesting, why don't you spend a bit of time learning more about it so that your comments are more informed. Operatic singing has many more subtle aspects to it than just high notes and trills. You will also enjoy and appreciate it much more. Then if Youtube users criticise your comments you will have arguments which make sense with which to defend your opinions.
@vivelhistoire It's very to explain ;) Callas and Sills were masters of breathing, Netrebko it's not: she breaks the line, she screams the high notes beacuse she doesn't have the right breath support. Furthemore, she hasn't studied to sing Belcanto: she said herself that she used 3 months to study the score: is it possible that a non-belcanto singer takes so little time to study a very difficult part? What I do critisize to Netrebko's Anna is that she hasn't got the technique to sing it!
What disturbs me more is this staging of Anna, which I personally found to be a complete massacre (Yes, it is MY personal opinion, I'm not gonna hide it in the fear that my comments get voted down by Youtube users...). And as to you receiving a flock of insults and such because you were brave about your opinions, well... that's sad. People need to be more objective rather than letting the star system overshadow opera. You don't adulate Anna Netrebko like you'd adulate Kim Kardashian.
@lamusicahera Perhaps she could use a bit of improving. It is true that opera today isn't what it was when Callas was singing... I think she does ace a few pieces but she needs to work much more seriously. She didn't do credit to herself or her reputation when, in a documentary made about her and available on Youtube, she said she never really practiced. Not to mention, "serious" opera singers like Callas would be fluent in languages in which they sing. It's a vocation.
Anna Netrebko macht großartiges Musiktheater und dies sollte auch wieder mehr an Bedeutung gewinnen in der Welt der Oper, denn Oper ist Musiktheater. Beste Grüße
i am pleased with her performance in this role. I have not been a big Netrebko fan as I have always felt that she care more about singing the notes than portraying a character. HOwever I believe she is really progressing nicely and is growing as an artist. This role is a clear sign of her growth. I am looking forward to the remainder of her career and plan on seeing this at the met.
What is sad is that this woman always has to sing doing strange movements that doesn't helps her to sing correctly! Her Traviata from Russia in 2003 is amazing, then in the Ikea production from Salzburg she has to do a circus acting, singing Puritani's Elvira at the Met she had to sing the mad scene groveling, singing Adina in Russian this last year she had sing a high note scaling a mountain of straw... and ever so. And contrary to all the opinions she is still singing.
I respect your taste of linking people standing only when singing, maybe cuz you prefer perfect vocal tecnique only. It's obvious that all the performing arts: ballet, theatre, and even opera, are evolving to something else now...Something more believeble to the crowd and finding ways to get to their harts through body, soul and voice, and the reason she keeps doing it it's beacause they ask for it!! It's just committed art, in this new generation...
@canariasesmusica In case you haven't noticed, many opera productions nowadays require all singers male and female to be much more active on the stage than previously. It is not the choice of the singers but the producers and directors. If they had the choice most singers would prefer not to have to run around, jump, lie down and do the things they are asked to do. All this activity makes singing at the same time much more difficult. They would much rather be less active if it was their choice
@canariasesmusica Opera productions are evolving into something which the producers feel is more realistic and relevant (although there are some productions which are plain stupid) so a great deal more acting and realism is required from the singers. Personally as long as it is not irrelevant and stupid or obscene I for one prefer it this way. It is much more believable. It is better than the usual three positions of the singers of the past who just stood there and belted everything out.
@Ariadne7710 If you want realism, than sing Verismo not Belcanto. We are talking about Opera! I am far more glad to hear a stable Pavarotti, who thrills you with his great voice, instead of seeing Netrebko moving like a monkey because she has to supply her vocal (shameful) flaws!
This production was a total philological and vocal shame, and what really makes me angry is that 60 years ago in La Scala was performed a similar edition concerning philology (60 years ago!) but with vocal giants!
@MisterPapageno I think you misunderstood what I said. I don't WANT verismo at all. I said that he current trend is for realistic portrayal of characters in the way they act. Opera Houses and audiences want this. It is possible to have good acting and good singing. Callas was an incredibly good actress and singer and the Visconti and Zeffirelli productions she performed in were masterpieces of staging and also very realistic. The problem is the modern producers and directors with stupid concepts
@MisterPapageno I am well aware of La Scala's productions of 60 years ago. I attended the April 1957 Visconti/Callas performance when I was a teenager studying music at L'Accademia Nazionale di Santa Cecilia in Rome and travelled to Milan to hear Anna Bolena. I also attended several other performances. There are no Viscontis nor Callases nowadays which is a great pity but unfortunately no-one is willing to put in enough hours of study and practice to produce those sort of results.
@MisterPapageno Quality opera performances have deteriorated for a number of reasons. First Opera Houses are worried about attracting audiences from the younger generation. They feel the pressure from pop music. They worry that once the generation who go to the Opera now dies off, Opera will die. This is nonsense. To keep Opera (and classical music) alive you need better educated young people. Yobs won't appreciate opera, nor want to go and listen to it or to other classical music.......
@MisterPapageno ...continued. Making productions modern is not the answer. More productions is also not the answer. Many opera houses create new modern productions all the time. They don't allow enough time for rehearsals. The singers are expected to arrive a week or two before opening day and be 100% ready. Not possible. The results are bad. Time is expensive and they try to cut down on it. The answer is fewer productions per season but that means fewer ticket sales. It is a vicious circle.
Ella tiene la voz para este papel, tiene que cuidar muchos detalles más bien de estilo, y de afinación, cala muchas veces y es un papel idóneo para su voz, y otra cosa dejar de escuchar la maravillosa grabación que nos dejó Maria Callas. Si lleva este papel por buen camino podrá hacerlo suyo, pero mientras no trabaje esos detalles, será una cantante más y lo siento decirlo, es profesional chic@s, como profesional esta obligada hacer como se debe, porque tiene todos los medios para hacerlo.
MAL ANA EL TEMA CON ELLA QUE ES UNA SOPRANO SIN SOBREAGUDOS COMO EL RE TAL EVZ EN UAN FINAL PERO AQUÍ NO LA PUDOD AR EDITA GRUBEROBA CON SUS 66 AÑOS ENCINA Y LA ESTUPENDA JOAN A SUS 59 AÑOS DABA EL RE CON INCREIBLE FACILIDAD
In this transmission her trills in this last piece are not as good as on the evening I saw the performance on 14 April. Better this way than sped up and full of additional excessive trills and other embellishments which are not in the score like the Sutherland and Sills versions. And she can execute the lower passages with a full voice. But if you start off with the aim of finding faults you will find them in everyone.
@Ariadne7710 I usually avoid dealing with faux musicologists referencing things that are and are not in the score, but your comment needs correcting. The score of Anna Bolena indeed contains several trills in the final cabaletta, which Sills executes brilliantly. Even if such trills did not exists, criticizing Sills for "embellishing" a Donizetti score would be like criticizing your plumber for properly fixing your toilet. Netrebko remains an embarrassment to the bel canto repertory.
@LeNozze44 i am not a musicologist faux or otherwise whatever that is!! Just a musician who has spent many years doing music. I attended the performance inside the Wiener Staatsoper on 14 April and my comments were based on what i heard. Netrebko performed very well. And I wouldn't want my plumber adding more pipes from the toilet to the rest of my home. If you don't like Netrebko nobody forces you to listen to her.
@Ariadne7710 Have you looked at the score? Many of the trills are in the score. Furthermore, it's simply inappropriate for a singer not to add embellishments in this repertoire.
@AiTaiwandeRen And she sings them. I am well aware that it is quite acceptable to add SOME additional ornamentation to what is in the score.To add a trill or two here and there is fine provided it is seamless and doesn't break either the rhythmic or melodic line. What to me seems unacceptable is inverting the melody to avoid certain notes(low ones)which does alter the melodic line. And i have heard the ascending trills from 0.29 to 0.34 sang like a see-saw melody which sounds totally ridiculous
@Ariadne7710 Furthermore, as preeminent scholar Philip Gossett has written:
"In the 19th century, at least, Italian composers all treated singers as their partners, not their antagonists. What Rossini wrote on the page was not what he thought a singer would perform: guai if anyone sings those naked cadenza opportunities without interpolating a proper cadenza." The same is true for Donizetti and Bellini.
@AiTaiwandeRen We are all agreed that adding embellishments is fine. What we seem to disagree on is the quality and style of the additions. I find the melodic lines of Rossini, Donizetti and Bellini very beautiful and don't want to hear them broken up by additions that do not fit. I also find altering the melody to accommodate a soprano who cannot reach either of the ends unacceptable. If a soprano lacks the range for a certain role she should not sing it. She should find other roles to sing
@AiTaiwandeRen And as for cadenzas every musician wants their own cadenza. It does not mean they are all good!! Not long ago I heard at a concert the "Emperor" concerto with a cadenza (composed by the pianist) which was indescribably bad. Not everyone who can perform can compose as well!!
@AiTaiwandeRen Nice try. I see you left "the same is true for Donizetti and Bellini" out of Mr. Gossett's quote: probably because he didn't write anything on the matter. Rossini hated how singers could manipulate his melodies and famously said, "How wonderful opera would be if there were no singers." Rossini was indeed very innovative, as he was the first composer to write out the ornaments exactly how he wanted the singers to sing them. The same is certainly NOT true for Donizetti and Bellini.
@LeNozze44 Sorry, dear, you're wrong and self righteous in your ignorance! I'll paste the full passage along with the citation in my next reply. If you know how to get yourself to a library, you can check it for yourself. The problem is that youtube doesn't allow such long comment posts.
@AiTaiwandeRen GOSSETT, PHILIP. 2010. "Source Studies and Opera History." Cambridge Opera Journal 21(2): 111–118.
"In the nineteenth century, at least, Italian composers all treated singers as their partners, not their antagonists. What Rossini wrote on the page was not what he thought a singer would perform: guai if anyone sings those naked cadenza opportunities without interpolating a proper cadenza."
@AiTaiwandeRen GOSSETT, PHILIP. 2010. "Source Studies and Opera History." Cambridge Opera Journal 21(2): 111–118.
"In the nineteenth century, at least, Italian composers all treated singers as their partners, not their antagonists. What Rossini wrote on the page was not what he thought a singer would perform: guai if anyone sings those naked cadenza opportunities without interpolating a proper cadenza."
@AiTaiwandeRen Well that was a rather haughty reply. I read the article you quoted (I LOVE Cambridge Opera Journal), and it only mentions Donizetti in regards to treatment of appoggiaturas and Bellini in regards to a question about Sonnambula. I may be a bit self-righteous in my "ignorance", but you seem to be a bit of a liar by implying that Prof. Gossett explicitly addressed Donizetti and Bellini's thoughts on singers ornamenting their melodies.
Wow, that's rich!! LohengrinT mentionig Lady CaCa in the same breath as Netrebko.I think that tells us all we need to know about the little queen (and I'm not talking about Anna Bolena)! I'm sure Netrebko would love to know that he finds her artistry comparable to that pop music mess. Actually, we may have something in common....... I find their artistry comparable as well. They both slink around the stage groping themselves to distract from the fact they have not 1 iota of talent!!
all the coloratura fanatics are bashing Netrebko because we bash poor Sills and poor Gruberova trying to sing this middle and lower voice Assoluta roles without a middle and lower voice :)))
@mcdandante once I met a musicologist who said Mozart was predictable, and so many others that didn´t even know the differences between 1810 generation and post-romanticism, or who thought that Händel and Haydn don´t have any differences in between, or who didn´t even know when Wagner born/died...so don´t really trust musicologists. I´m a pianist and studying conducting, and I just don´t go over there spreading it... be humble, it´s free ;)
and you are such a hypocritic person as not to be offended by your favourite singer behaving like a cheap prostitute on stage (and an ugly one) but by the person who describes her
We dont want to see anymore of her TITS AND PUSSY onstage... get that message to her pls :)))
@LohengrinT look, i don´t know what´s wrong with you, why you try to offend people so hard here, i think what is awful here is your attitude and your insulting messages. We are talking about opinions here, you are not Mozart to tell people what to think about music, so better (gonna use your slang vocabulary) shut the damn fuck up. got it?
you were also highly insulting towards Netrebko but that doesnt count because... hm... it was coming from you? the ALL FATHER? ::)))))))))))))))))))))))))))))
@LohengrinT when have i even insulted miss Neterbko! I love her! please, stop fighting, there´s no need for fighting! this is no competition! we are all people who like/know about this, please, stop it, can´t we all just be mature work-mates and friends sharing this lovely-amazingly-interesting-worth-soul-filling art? why do we have to be constantly discussing our opinions with insults and violence!! I just don´t get it, I´m sorry but this is just too much, Lohengrin, you win, whatever you say.
@CarlitosDessay Her best roles - my opinion - she gave in La Traviata and L´eliisir d´amore. I have both performances with Anna and Villazon on DVD...:)
well Dessay isnt singing her best the last 12 years now but she still is showing her tits and rubs her pussy onstage and you all go: bravaaa bravaaaa :))))))
@LohengrinT i think you just proved to all of us what an unpolite, rude, unappropriate and vulgar human being you are, anyhow someone who likes Lady Gaga speaks for itself, don´t you think?
well vulgar unpolite and rude is Dessay who while being an incredibly ugly woman keeps showing to all of us these last years her tits onstage or rubs her pussy onstage and you are all so idiotic as to pretend u dont see that and scream brava brava :))
@LohengrinT what makes you think i go brava brava when i see her singing? first of all i judge more than just her extreme phisical performances...i don´t like her 100%, i only think she is fair enough to be where she is. I don´t know why i ofended you with my comment on Netrebko, i think she is great, all i´m saying is that this wasn´t, IN MY OPINION, her best. Stop saying stupid reasons, and give me real (technique, interpretation...) if you can/know...
technique? about Dessay? she has lost in the last 10 years all her top notes, the remaining B and C6 wobble more than anyone can handle, she totally screams to project in middle and higher middle voice and she has completely lost her agility and goes off tune all the time... that does not bother me it happens to all singers with age....
the fact she goes onstage like a prostitute bothers me a lot I dont like going to Opera to watch cheap porn ty!
@LohengrinT so did Callas, but because she just was famous you all went Brava Brava, and so Domingo, Pavarotti, and so many others of their time. If you don´t like her, then don´t watch her performing...but if she works so hard and so often for Met, Lyon with so many other theaters and tape cds and dvd it should be meaning something for oyu...or wait...are you Mortier or some super voice in music? something tells me you´re not...
@LohengrinT Pavarotti didn´t know reading music, and look at Domingo, he doesn´t know the difference between singing Händel and Puccini, actually in both roles is awful because he has had a very ugly voice ever since he turned 35, of course i wasn´t there to tell, but tapes speak for themselves. I like Dessay because not only i like her voice/performing many opera characters but she is also a god actress (no matters what she shows or not on stage)
by goof acting you actually refer that she is jumping around onstage all the time and on tenors showing how sexually deprived she is... and that she had once a tenor licking her pussy in one of her performances
Well I ll tell you this... try do that in acting bussiness and if u get succesful I ll give you a bow :)))))
Why Lady Gaga rubbing her pussy is FABULOUS but Dessay rubbing her pussy is atrocious... because Gaga does it with FAB STYLE plus she is a remarkable musician (which you will never be :)))
Plus Gaga has a fabulous body (one of the greatest bodies we have ever seen in show bussines) while Dessay is atrociously ugly
Is it the same to see naked a top model (HEAVEN) and someone as ugly as Dessay?
not gonna start a discussions about Callas but you must know that there are two types of people in the world of music knowlege (in which we shouldn´t be considering ourselves yet, maybe in 2 years but not now, hehehe) the ones who say she was perfect, the ones who say she was such a big faked mistake in music (and both of them were there to tell, i think we should first listen to their opinions)
@KathrynARyder What part of this performance you consider to be filthy? It's easy to talk smack about artists, but can you at least explain why you have such resentment toward Anna?
You guys, she's going for projection here- she doesn't need to be forward for this aria, she's depicting a furious woman who's meeting an unjust death sentence. She's not being a bad singer, she's just being smart. Besides, this is a dramatic aria that's not coloratura intensive. Bravo to her!
pwoodklarinette1 18 hours ago
BRAVISSIMA
aagn1950 4 days ago
I love the emotion that opera brings out in people. I have listened to people say how terrible Sutherland is--I think she is great. How Callas was perfect--she wasn't she was great, not perfect. They hate Pavaroti--I think he is the greatest, to me. Now Netrebko is awful--but I think she is pretty terrific. There are some singers that people love, not my favorites. But is doesn't mean they are terrible. Just not MY taste. Hearing the crowd respond to live from the Met, they loved it.
spizzell1 3 weeks ago
Oy, that Queen Elisabeth thing is so cheesey...
The nice thing about Netrebko singing Anna Bolena? When SHE sings it, the opera has a happy ending.
bronxbearbud 4 weeks ago
Goose bumps running down my spine...Simply splendid!
Walkingonroses 1 month ago
pupattola!
mel04rama 1 month ago
Daaam, you all are some harsh critics..lol
ILLSLAPAHO 1 month ago
I love her, but this is just horrible. 1:27 si, SI SIII. She's screaming for god sake. That's not bel canto technique!
8Goldie 1 month ago
@8Goldie I agree with you but I think it is because of acting. It would be a perfect performance Im just not positive that it is good for her voice.
bpetii1 1 month ago
@bpetii1 she's too rough, every time when i play this video i think that her vocal chords will crack any second.
8Goldie 1 month ago
@8Goldie Her chords didn't crack at all...
DiomedesDioscuro 1 month ago
@DiomedesDioscuro yes but they sound like they will crack any second. Don't get me wrong, I love her but this is a fuckin crime.
8Goldie 1 month ago
@8Goldie But they didn't, and it doesn't seem they will at all. I think that's quite meaningful... The good thing about art is that nothing is a crime. :)
DiomedesDioscuro 1 month ago
@DiomedesDioscuro This is not a bel canto, she's too rough, let's be honest. I'm not a hater I love her, I love how she is eager for art and she sings marvelous, but this was too much, not her fach at all
8Goldie 1 month ago
@8Goldie It's all screaming to me, and over acting. I don't know how people can enjoy someone screaming out words and acting like they are in a silent movie. I think if Anne Boleyn had to listent to this she would chop off her own head.
51Saffron 4 weeks ago
@51Saffron this one and her Donna Anna really disappointed me. I am really crushed.
8Goldie 4 weeks ago
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@51Saffron I perfectly agree! It's all I've being doing until now: showing how unable Netrebko is to sing Belcanto. It's not repertoire for her!!!
MisterPapageno 3 weeks ago
She looks and sounds like she wants to kill someone!!
zucchini2007 1 month ago
@zucchini2007 She probably does, she's getting her head cut after being accused of adultery... "Coppia iniqua" doesn't sound like a declaration of friendship.
DiomedesDioscuro 1 month ago
WoooooW, so much hate... She is very good in this particular role and this video actually made me go see her perform the same role at the MET last year. I loved it and everybody in that production was very good. She is great and (eat your hearts out) she is beautiful!
erginakif 1 month ago
really funny in 2:11
belcanto00 1 month ago
she was often under tone in this production !!
belcanto00 1 month ago
calaaaanteeeeeee!!!!!!
ferrykalos 1 month ago
@ferrykalos ..e indietro....
aureliano1952 1 month ago
@aureliano1952 indietro, ma può migliorare. le basi le ha. Dovrebbe migliorare sopratutto l'aspetto interpretativo ...
MrRadicos 1 month ago
amazing
davidlucasfer 3 months ago
I am glad she sounded better at the Met.
I will listen to the broadcast.
65attila 3 months ago
This wench is out of her league singing this assoluta role! She doesn't have the coloratura, she doesn't have the chest tones, she doesn't have the high notes, she has no breath control: gasping for air like a fish out of water.
NEBESHIKU 3 months ago
@NEBESHIKU
appreciate your honesty. it is true though, this role is much much bigger than that "voice" she's packing.
pointemeout 3 months ago
Genius!
tumtillia 3 months ago
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tumtillia 3 months ago
ELLA QUE SIGA LUCIENDO PALMITO Y ENSEÑANDONOS SUS MODELITOS PERO CANTAR ESTA ÓPERA SON PALABRAS MAYORES.
Maripudelmonaco 3 months ago
The pompous comments from the wannabe critics are nearly as entertaining as the singing itself. Keep it up!
jq4t49f3 3 months ago 2
@lamusicahera sisi quedate en casa con tus cds de la callas..............
gustavoanmosura 4 months ago
I haven't listened to this singer in over ten years and am saddened what I was thinking then has obviously unfolded. The voice is beat, there's been no more musical schooling or stylistic betterment of the rep she sings and every character she portays reminds me of my bratty 13 year old neice, whether it be a Queen, a peasant or spurned lover. Her pitch is bad, accuracy is optional, no trill , and she is still interpolating "high notes" that are no longer there! I'm sure she has made a fortune.
tadcastria 4 months ago
I don´t understand why people are so mean when they don´t like a singer. I understand if they don´t sing well or don´t have a beautiful voice, but that doesn´t give us the right to be mean as hell and worse, writing here nothing but lies like the rest of us are deaf and can´t hear. I apologise whenever I´ve done it, if I´ve done it. What I want to say with all this, is that I´m not Ana´s fan but still can appreciate the beauty of her singing and what she has done for opera until now. Brava!
ezayi 4 months ago
@ezayi She had a time when her resonance (position) was really god. but now the sound isn`t forward enough and it sounds a bit veiled. It doesn`t sound as a big difference... but it`s very important since it makes the coloratura easier.. and sounds prettier:) Now really... not many people hear this. That`s why usually some more technical ppl or snobs or whatever don`t like her singing. she has a beautiful tone but she just takes away from it, controlling it too much.
Serinia4melodic 3 weeks ago
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@Serinia4melodic She still has a wonderful timbro and she have done everything she wanted if she just decided to study! But she is completely out of mind choosing this repertoire without having the proper technique!!! She is really hanging herself on, and the DG at la scala is the witness of her vocal decay: the sound is backawards (veiled and not always projected), she is many times out of tune and she really overact too much!
MisterPapageno 3 weeks ago
@Serinia4melodic Completely disagree with you in the "isn´t forward enough". A lot of people do that and that´s what´s wrong in their voices. Too much forward and no soft tones. I think she sounds perfectly fine.
ezayi 1 week ago
@ezayi you get the soft tones from the resonating position.. which is the forward position. You actually have to have 2 positions.. when you think of putting the sound in the forward behind the nose position.. and the behind/fill your head type. Unifying these creates the squillo opera-voice. Netrebko has the filled head/resonator position and a bit veiled forward pos. My teacher also agrees with me.. the difference is that she can sing coloratura rep better then Netrebko:P
Serinia4melodic 1 week ago
Orribile!!!! Inascoltabile!!! Questo non è cantare!!!
voncarmelo 4 months ago
La opera es CANTO y actuaciòn.... Netrebko actua bien... nadie discute, y canta excelente, pero POR FAVOR QUE NO CANTE MAS LA BOLENA!!!! DA PENA!
orejarota 4 months ago 2
Why?
The voice is light insecure and wobbles. Joan was better and 58 and 59, She sounds stressed.
65attila 4 months ago
@65attila are u a professional or even a trained operatic singer???
she sounds amazing actually!!!
danefritz2006 4 months ago
@danefritz2006
What does any of what you asked havce to do with anything? Harold Schonberg never sang profesionally.
My ears are fine thank you and it is an opinion. RELAX
John
65attila 4 months ago
@65attila her voice isnt light or insecure and i found no wobbles in her voice. and im sorry but joan sutherland doesnt even come close to the brilliance of Anna
danefritz2006 4 months ago
@danefritz2006 I'm not going to deny that Anna is a very talented woman, and technically sound but you're cracked if you think she is comparable to Joan.
tenor220 3 months ago
@tenor220 oh shes not comparable because i personally believe anna is a better performer and singer than joan sutherland. thats my opinion.
danefritz2006 3 months ago
@danefritz2006 That's cool, don't go throwing your opinion around like it's fact and you won't get pestered by people who disagree with you.
tenor220 3 months ago
@tenor220 i didnt throw it around like it was fact but thanks for the warning :)
danefritz2006 3 months ago
@65attila Have you heard her live? I heard her at the Met in this role, and she's improved a lot since Vienna, I liked her performance at the Met, and the voice sounded big, not at all light.
jewelmarkess 3 months ago
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Lovely singing TY C for posting.
paulostroff99 4 months ago
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paulostroff99 4 months ago
VERGOGNA !!!
martinmotter 4 months ago
viéndolo en HD y pantalla completa, la voz suena una fracción de segundo antes que el movimiento de la boca
wotancat1 4 months ago
the voice sounds wonderful
invoicewithlove 4 months ago
i don't know why, but i like to look at anna's mouth while she sings. lol
asdfopera 4 months ago
@asdfopera maybe because its so.....big? Could be fun
fpngan 4 months ago
Why is the video delayed a bit, very annoying...
Nice otherwise, just came back from the MET to hear her singing ibn the exact same role and I msut say her MET Coppia was a bit better then here, more dramatic.
grimmrad 4 months ago
Saw her sing this at the Met. She is perfect in this role.
BordeauxCliff 4 months ago
questa non é la lirica italiana.
bodiloto 5 months ago
were is her breath ?
Teffhiphop 5 months ago
She is not bad but check- out Sutherland, Caballe and Callas.
You will find the difference.
amonasro100 5 months ago
I just saw Anna in this opera yesterday at the Met (dress rehearsal) It's a beautiful show, and her performance was outstanding. Brava Anna!
LaLunaDellaNotte 5 months ago
@LaLunaDellaNotte Wonderful, I can't wait to see it in a movie theatre on October 15. If is so wonderful I will try to get tickets for the Feb. 1 performance if I can and come to NYC for that.
Ariadne7710 5 months ago
@Ariadne7710 PS. Definitely try to get here to see it, it's so worth it! :)
LaLunaDellaNotte 5 months ago
giusto criticare, ma se non fosse per m. devia opere come Bolena, maria stuarda, lucrezia borgia, puritani, norma, etc sarebbero sparite dai nostri teatri da tempi immemorabili....magari questa cantante o altre sue colleghe di oggi potrebbero essere interpreti valide di questi titoli in via d'estinzione. Mah, non capisco; si preferisce non fare più bellini e donizetti che provare con un pò di coraggio qualche voce. Come al solito all'estero qualcuno ci prove e noi stiamo a guardare!
operfanpadova 5 months ago
By amateur standards, this is good. By international, brand-new Met production standards, this is crap. I get it, good opera is few and far between, but for $150 a ticket I want more than this. I can't hear anything in the lower register, and her "trills" sound an awful lot like every other note she hits. Maybe between April and now she has improved, but I'm not putting my money on it
flicfan416 5 months ago 2
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Why does she keep doing the "I'm going to lay down and sing backwards" thing? She did the same thing in I Puritani at the Met. That said, she does well, but I'll take Sutherland or Sills over her.
brolobear 5 months ago 9
@brolobear Actors/singers don't decide whether to lie down, sit, or stand up. The director decides all the stage movements depending on his conception of the action. On this occasion, she had to lie down so that the guillotine would come down on her neck!!! She is about to be executed. The director decided to have a guillotine in stead of the executioner's axe. He wanted the action to take place that way. It is true though the modern trend is for a lot more movement on the stage than before.
Ariadne7710 5 months ago
@Ariadne7710 I'm glad you said that, because I agree with you! And I thought the direction was very effective. They changed the staging of the ending at the MET.
LaLunaDellaNotte 5 months ago
@brolobear
Since Joan and Beverly are both dead, how about a new interpretation?
willstrip2 5 months ago
@brolobear Because she had to lie down under the guillotine which is slowly coming down on her neck. She is being executed!!! Ask the director why he wanted it done like that. It was his idea!!!
Ariadne7710 4 months ago
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@brolobear what a silly question. it's a habit. Netrebko always had to lay down, especially backwards, to actually GET THE PART... especially in her sadly gone coloratura days. I miss those. At least it was funny to listen to her destroying every role from Gilda to Violetta, through Lucia and Elvira.
Now we just have to listen to her pushing and screaming and overdarkening and it's not even funny anymore. No trills, no breath, support so weak that the diction is just a uthopia.
eradesso 4 months ago
Comunque sono solo un appassionato che non ha studiato, però ho ascoltato tante registrazioni del passato e forse il gusto di oggi è un pò cambiato: l'interprete oggi è a servizio della parte, forse in passato era un pò a rovescio.
Questo creava interpreti più liberi, grandi, personali, emozionanti. Forse però era meglio così, l'opera era più varia e viva, una scoperta ad ogni esecuzione, più emozione (ma non sempre fedele all'autore, tagli e arbitri). Fedeltà al testo=esecuzioni più "standard"
operfanpadova 5 months ago
Sono d'accordo su alcuni difetti tecnici (fiato e "spianature"); a me sembra che abbia tutte le carte in regola, solo che a volte semplifica (pigrizia? paura?); i dettagli a volte non sono sempre accuratissimi, però il resto c'è tutto. "Dilettante" nella lirica non è offensivo ("dilettanti" celebri: Verdi, Wagner, Corelli, Pavarotti). La bellezza x me non dovrebbe essere un pregiudizio (pare che nell'800 apprezzassero molto la bellezza e la credibilità scenica delle cantanti). Sono solo opinioni
operfanpadova 5 months ago
BRAVA CALLAS!
vedovocallas 5 months ago
To what extend Rossini, Donizetti or Bellini, allowed singers to add embellishments is speculation. We can't be sure since there no recordings of that time only odd letters and hearsay. Isabella Colbran for whom he created many of his operas was Rossini's wife so I doubt that she would add anything without his approval. Textbooks on early 19th century opera suggest that Bellini was not at all keen on additions. Poor Donizetti seems to have been the biggest victim of overembellishment by divas
Ariadne7710 5 months ago
Penso che 33 pagine di commenti la dicano lunga sull'interesse per questa cantante, e se lo merita: la voce è bellissima, emissione naturale soprattutto nel registro acuto; ha imperfezioni tecniche (fiato, abbellimenti vari) però rende bene il personaggio, con il giusto cambio di accento (qui è davvero aggressiva; nell'aria "al dolce guidami" sa essere molto morbida e dolce). BRAVA, forse in passato c'era più scelta, però ora è il top! Il personaggio e la musica sono vivi quando lei canta!
operfanpadova 5 months ago
@operfanpadova a questi gridi Tu dici 'canto'?
Vai nel 'passato glorioso ITALIANO e ascolta,e importantissimo per la Tua salute e il la Tua preparazione.
Scusa per i disturbi,sono un vecchio che parla troppo e chi Voi giovani a volte non Vi capisce.
Per me Netrebko e una dilettante,una bella donna che poteva fare carriera nella cinema americana.
L'orchestra é sinfonico brutto,la cantante é una entusiasta niente di più.
Amico Ti lascio con i tuoi idoli...io con i miei.Il mondo e più bello così.
bodiloto 5 months ago
A comparison with the score reveals that Ms. Netrebko only manages to "approximately" sing what is written. Pitch, note values, rhythms, slancio, pronounciation, her trill are all very poor. On the other hand she does have beauty and presence and a relentless PR machine. I DO like Netrebko as Manon, Mimi, Juliette, Zerlina, Susanna, Adina - she excels in these light lyric roles but in the big bel canto roles she is stretched beyond her abilities.
KathrynARyder 6 months ago
Ana Netebko is so much Better !!! But the very Best regardless her appearence or even uglyness,
was JOAN SUTHERLAND this is not an opinion and not even my tastes its a fact.
jetaimewarren 6 months ago
@jetaimewarren Surely you must be joking:)))) Sutherland's Bolena was a disaster. Full of wobble, screeching and transposed down for her to be able to cope with the high notes and transposed up to avoid the low ones. She left it way too late. She was 58 and a lot of the voice quality and high notes had gone by then. Nothing to do with appearance just vocal ability and range. And who decides what is fact?
Ariadne7710 6 months ago
hCallas had a nice voice and talent but a lack a bit of technique thats why her carrer went down because she just coudnt sing anymore. SHe had a so much casisma thats why she is the most famous and of course in those days with the life she was living evryody talked about her. She made scandals and front pages of magasine with batrayal stories with her billionaire boyfriend Onassis. But she COULD NOT sing like that remove that from your head people !!!
jetaimewarren 6 months ago
@jetaimewarren Callas lost her voice because of drastic weight loss, questionable choice of rep at an early age and possibly amphetamines / depression; saying her technique was lacking is a superficial read of a complex career.
People sing for years on poor technique; Netrebko is a case in point.
Gasping through phrases, sullying the score with scoops, errant embellishments, abridging difficult passages, & holding notes to impress an audience is not only a flaw of technique; it's systemic.
coryisawake 6 months ago
@jetaimewarren Oh really? You saw her I suppose and can make judgements like that!!! Her big international career started in 1949 when she sang I Puritani for the first time in Venice and became instantly a vocal phenomenon. She lacked technique? Are you serious? She sang all the big belcanto roles all over the world for 10 years before she even met Onassis. I know because I actually saw some of those performances live. Did you? Or did you just read the gossip columns of trashy magazines
Ariadne7710 5 months ago
Video of a wonderful and unusual quality compare to the average YouTube set. Which is what I was looking for as Anna "acting" is matching her "singing" by combining colors making a superb visual and audio experience.
JeanLouAix 6 months ago
Callas (WOW, I'm posting too much). However, maybe Netrebko doesn't reach the high trills as well as I'd like to hear them. And sometimes her acting is a bit lifeless or too much, although it all depends on the productions she's in.
All this said, I admire your courage for posting something you know is gonna get you insults from some very polite Youtubers, because their mommies didn't give them too much love when they were kids or some creepy movie-psycho-killer excuse like that.
vivelhistoire 6 months ago
@vivelhistoire And replying to comments has nothing to do with whether you had love from your mommie or not. Musicians enjoy having discussions about music of any kind whether they agree with each other or not. It keeps music alive. It is a subject of intense interest to them and You tube is just another vehicle of finding people you enjoy discussing a subject which interest you with. Of course there are loads of people who know nothing about it and talk a whole lot of nonsense.
Ariadne7710 6 months ago
This said, I think Anna Netrebko has a very untypical voice (I don't know very well the technical terms, sadly... and YES, still I have the pretension to comment... never said I was perfect :D), with some deepness even when she's reaching high tones (unlike Callas or Sills, whose voices were extremely light, even when singing lower notes). This adds dimension and depths to character she sings, as if her voice gave them different personalities than the Bolena or Violetta interpreted by Sills or
vivelhistoire 6 months ago
@vivelhistoire Since you say in your post that don't know too much about operatic singing, if it is something that you find interesting, why don't you spend a bit of time learning more about it so that your comments are more informed. Operatic singing has many more subtle aspects to it than just high notes and trills. You will also enjoy and appreciate it much more. Then if Youtube users criticise your comments you will have arguments which make sense with which to defend your opinions.
Ariadne7710 6 months ago
@vivelhistoire It's very to explain ;) Callas and Sills were masters of breathing, Netrebko it's not: she breaks the line, she screams the high notes beacuse she doesn't have the right breath support. Furthemore, she hasn't studied to sing Belcanto: she said herself that she used 3 months to study the score: is it possible that a non-belcanto singer takes so little time to study a very difficult part? What I do critisize to Netrebko's Anna is that she hasn't got the technique to sing it!
MisterPapageno 6 months ago
What disturbs me more is this staging of Anna, which I personally found to be a complete massacre (Yes, it is MY personal opinion, I'm not gonna hide it in the fear that my comments get voted down by Youtube users...). And as to you receiving a flock of insults and such because you were brave about your opinions, well... that's sad. People need to be more objective rather than letting the star system overshadow opera. You don't adulate Anna Netrebko like you'd adulate Kim Kardashian.
vivelhistoire 6 months ago
@lamusicahera Perhaps she could use a bit of improving. It is true that opera today isn't what it was when Callas was singing... I think she does ace a few pieces but she needs to work much more seriously. She didn't do credit to herself or her reputation when, in a documentary made about her and available on Youtube, she said she never really practiced. Not to mention, "serious" opera singers like Callas would be fluent in languages in which they sing. It's a vocation.
vivelhistoire 6 months ago
Merci!
tychaton08 6 months ago
0:32 why is her tongue like that?
necrogoddess 6 months ago
Anna Netrebko macht großartiges Musiktheater und dies sollte auch wieder mehr an Bedeutung gewinnen in der Welt der Oper, denn Oper ist Musiktheater. Beste Grüße
BerlinJens1 6 months ago
@lamusicahera After I have read your comments I think that you need help of the psychiatrist
gman20101 7 months ago
i am pleased with her performance in this role. I have not been a big Netrebko fan as I have always felt that she care more about singing the notes than portraying a character. HOwever I believe she is really progressing nicely and is growing as an artist. This role is a clear sign of her growth. I am looking forward to the remainder of her career and plan on seeing this at the met.
operadoc 7 months ago
What is sad is that this woman always has to sing doing strange movements that doesn't helps her to sing correctly! Her Traviata from Russia in 2003 is amazing, then in the Ikea production from Salzburg she has to do a circus acting, singing Puritani's Elvira at the Met she had to sing the mad scene groveling, singing Adina in Russian this last year she had sing a high note scaling a mountain of straw... and ever so. And contrary to all the opinions she is still singing.
canariasesmusica 7 months ago
@canariasesmusica
I respect your taste of linking people standing only when singing, maybe cuz you prefer perfect vocal tecnique only. It's obvious that all the performing arts: ballet, theatre, and even opera, are evolving to something else now...Something more believeble to the crowd and finding ways to get to their harts through body, soul and voice, and the reason she keeps doing it it's beacause they ask for it!! It's just committed art, in this new generation...
chabs85 7 months ago
@canariasesmusica In case you haven't noticed, many opera productions nowadays require all singers male and female to be much more active on the stage than previously. It is not the choice of the singers but the producers and directors. If they had the choice most singers would prefer not to have to run around, jump, lie down and do the things they are asked to do. All this activity makes singing at the same time much more difficult. They would much rather be less active if it was their choice
Ariadne7710 7 months ago
@canariasesmusica Opera productions are evolving into something which the producers feel is more realistic and relevant (although there are some productions which are plain stupid) so a great deal more acting and realism is required from the singers. Personally as long as it is not irrelevant and stupid or obscene I for one prefer it this way. It is much more believable. It is better than the usual three positions of the singers of the past who just stood there and belted everything out.
Ariadne7710 7 months ago
@Ariadne7710 If you want realism, than sing Verismo not Belcanto. We are talking about Opera! I am far more glad to hear a stable Pavarotti, who thrills you with his great voice, instead of seeing Netrebko moving like a monkey because she has to supply her vocal (shameful) flaws!
This production was a total philological and vocal shame, and what really makes me angry is that 60 years ago in La Scala was performed a similar edition concerning philology (60 years ago!) but with vocal giants!
MisterPapageno 6 months ago
@MisterPapageno I think you misunderstood what I said. I don't WANT verismo at all. I said that he current trend is for realistic portrayal of characters in the way they act. Opera Houses and audiences want this. It is possible to have good acting and good singing. Callas was an incredibly good actress and singer and the Visconti and Zeffirelli productions she performed in were masterpieces of staging and also very realistic. The problem is the modern producers and directors with stupid concepts
Ariadne7710 6 months ago
@MisterPapageno I am well aware of La Scala's productions of 60 years ago. I attended the April 1957 Visconti/Callas performance when I was a teenager studying music at L'Accademia Nazionale di Santa Cecilia in Rome and travelled to Milan to hear Anna Bolena. I also attended several other performances. There are no Viscontis nor Callases nowadays which is a great pity but unfortunately no-one is willing to put in enough hours of study and practice to produce those sort of results.
Ariadne7710 6 months ago
@Ariadne7710 You are right! There isn't the will, cause the opera managers want just to offer numbers (quantity) and not quality.
You were present at 1957 Bolena: you should be witness of that vocal seriousness instead of this vocal disaster as Wien Bolena has been!
MisterPapageno 6 months ago
@MisterPapageno Quality opera performances have deteriorated for a number of reasons. First Opera Houses are worried about attracting audiences from the younger generation. They feel the pressure from pop music. They worry that once the generation who go to the Opera now dies off, Opera will die. This is nonsense. To keep Opera (and classical music) alive you need better educated young people. Yobs won't appreciate opera, nor want to go and listen to it or to other classical music.......
Ariadne7710 5 months ago
@MisterPapageno ...continued. Making productions modern is not the answer. More productions is also not the answer. Many opera houses create new modern productions all the time. They don't allow enough time for rehearsals. The singers are expected to arrive a week or two before opening day and be 100% ready. Not possible. The results are bad. Time is expensive and they try to cut down on it. The answer is fewer productions per season but that means fewer ticket sales. It is a vicious circle.
Ariadne7710 5 months ago
Ella tiene la voz para este papel, tiene que cuidar muchos detalles más bien de estilo, y de afinación, cala muchas veces y es un papel idóneo para su voz, y otra cosa dejar de escuchar la maravillosa grabación que nos dejó Maria Callas. Si lleva este papel por buen camino podrá hacerlo suyo, pero mientras no trabaje esos detalles, será una cantante más y lo siento decirlo, es profesional chic@s, como profesional esta obligada hacer como se debe, porque tiene todos los medios para hacerlo.
Rapicienta 7 months ago
MAL ANA EL TEMA CON ELLA QUE ES UNA SOPRANO SIN SOBREAGUDOS COMO EL RE TAL EVZ EN UAN FINAL PERO AQUÍ NO LA PUDOD AR EDITA GRUBEROBA CON SUS 66 AÑOS ENCINA Y LA ESTUPENDA JOAN A SUS 59 AÑOS DABA EL RE CON INCREIBLE FACILIDAD
ivancin2010 7 months ago
In this transmission her trills in this last piece are not as good as on the evening I saw the performance on 14 April. Better this way than sped up and full of additional excessive trills and other embellishments which are not in the score like the Sutherland and Sills versions. And she can execute the lower passages with a full voice. But if you start off with the aim of finding faults you will find them in everyone.
Ariadne7710 7 months ago
@Ariadne7710 I usually avoid dealing with faux musicologists referencing things that are and are not in the score, but your comment needs correcting. The score of Anna Bolena indeed contains several trills in the final cabaletta, which Sills executes brilliantly. Even if such trills did not exists, criticizing Sills for "embellishing" a Donizetti score would be like criticizing your plumber for properly fixing your toilet. Netrebko remains an embarrassment to the bel canto repertory.
LeNozze44 6 months ago
@LeNozze44 i am not a musicologist faux or otherwise whatever that is!! Just a musician who has spent many years doing music. I attended the performance inside the Wiener Staatsoper on 14 April and my comments were based on what i heard. Netrebko performed very well. And I wouldn't want my plumber adding more pipes from the toilet to the rest of my home. If you don't like Netrebko nobody forces you to listen to her.
Ariadne7710 6 months ago
@Ariadne7710 Good shot!
spqrmor 6 months ago
@LeNozze44 I agree with you on all counts!
AiTaiwandeRen 5 months ago
@Ariadne7710 Have you looked at the score? Many of the trills are in the score. Furthermore, it's simply inappropriate for a singer not to add embellishments in this repertoire.
AiTaiwandeRen 5 months ago
@AiTaiwandeRen And she sings them. I am well aware that it is quite acceptable to add SOME additional ornamentation to what is in the score.To add a trill or two here and there is fine provided it is seamless and doesn't break either the rhythmic or melodic line. What to me seems unacceptable is inverting the melody to avoid certain notes(low ones)which does alter the melodic line. And i have heard the ascending trills from 0.29 to 0.34 sang like a see-saw melody which sounds totally ridiculous
Ariadne7710 5 months ago
@Ariadne7710 Furthermore, as preeminent scholar Philip Gossett has written:
"In the 19th century, at least, Italian composers all treated singers as their partners, not their antagonists. What Rossini wrote on the page was not what he thought a singer would perform: guai if anyone sings those naked cadenza opportunities without interpolating a proper cadenza." The same is true for Donizetti and Bellini.
AiTaiwandeRen 5 months ago
@AiTaiwandeRen We are all agreed that adding embellishments is fine. What we seem to disagree on is the quality and style of the additions. I find the melodic lines of Rossini, Donizetti and Bellini very beautiful and don't want to hear them broken up by additions that do not fit. I also find altering the melody to accommodate a soprano who cannot reach either of the ends unacceptable. If a soprano lacks the range for a certain role she should not sing it. She should find other roles to sing
Ariadne7710 5 months ago
@Ariadne7710 Please give specific examples of low notes she did not sing that are in the score.
AiTaiwandeRen 5 months ago
@AiTaiwandeRen And as for cadenzas every musician wants their own cadenza. It does not mean they are all good!! Not long ago I heard at a concert the "Emperor" concerto with a cadenza (composed by the pianist) which was indescribably bad. Not everyone who can perform can compose as well!!
Ariadne7710 5 months ago
@AiTaiwandeRen Nice try. I see you left "the same is true for Donizetti and Bellini" out of Mr. Gossett's quote: probably because he didn't write anything on the matter. Rossini hated how singers could manipulate his melodies and famously said, "How wonderful opera would be if there were no singers." Rossini was indeed very innovative, as he was the first composer to write out the ornaments exactly how he wanted the singers to sing them. The same is certainly NOT true for Donizetti and Bellini.
LeNozze44 5 months ago
@LeNozze44 Sorry, dear, you're wrong and self righteous in your ignorance! I'll paste the full passage along with the citation in my next reply. If you know how to get yourself to a library, you can check it for yourself. The problem is that youtube doesn't allow such long comment posts.
AiTaiwandeRen 5 months ago
@AiTaiwandeRen GOSSETT, PHILIP. 2010. "Source Studies and Opera History." Cambridge Opera Journal 21(2): 111–118.
"In the nineteenth century, at least, Italian composers all treated singers as their partners, not their antagonists. What Rossini wrote on the page was not what he thought a singer would perform: guai if anyone sings those naked cadenza opportunities without interpolating a proper cadenza."
AiTaiwandeRen 5 months ago
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@AiTaiwandeRen GOSSETT, PHILIP. 2010. "Source Studies and Opera History." Cambridge Opera Journal 21(2): 111–118.
"In the nineteenth century, at least, Italian composers all treated singers as their partners, not their antagonists. What Rossini wrote on the page was not what he thought a singer would perform: guai if anyone sings those naked cadenza opportunities without interpolating a proper cadenza."
AiTaiwandeRen 5 months ago
@AiTaiwandeRen Well that was a rather haughty reply. I read the article you quoted (I LOVE Cambridge Opera Journal), and it only mentions Donizetti in regards to treatment of appoggiaturas and Bellini in regards to a question about Sonnambula. I may be a bit self-righteous in my "ignorance", but you seem to be a bit of a liar by implying that Prof. Gossett explicitly addressed Donizetti and Bellini's thoughts on singers ornamenting their melodies.
LeNozze44 5 months ago
still no trills . . .
AiTaiwandeRen 7 months ago
La gente es demasiado dura con ella...
sachmetixchel 7 months ago in playlist Mas artistas favoritos
Wow, that's rich!! LohengrinT mentionig Lady CaCa in the same breath as Netrebko.I think that tells us all we need to know about the little queen (and I'm not talking about Anna Bolena)! I'm sure Netrebko would love to know that he finds her artistry comparable to that pop music mess. Actually, we may have something in common....... I find their artistry comparable as well. They both slink around the stage groping themselves to distract from the fact they have not 1 iota of talent!!
kake1959 7 months ago
@kake1959 Netrebko is wonderful in this role. Yes, she wasn't a very good Lucia, but she shines as Anna Bolena. Hush up.
erginakif 6 months ago
@mcdandante
all the coloratura fanatics are bashing Netrebko because we bash poor Sills and poor Gruberova trying to sing this middle and lower voice Assoluta roles without a middle and lower voice :)))
LohengrinT 7 months ago
@mcdandante once I met a musicologist who said Mozart was predictable, and so many others that didn´t even know the differences between 1810 generation and post-romanticism, or who thought that Händel and Haydn don´t have any differences in between, or who didn´t even know when Wagner born/died...so don´t really trust musicologists. I´m a pianist and studying conducting, and I just don´t go over there spreading it... be humble, it´s free ;)
CarlitosDessay 7 months ago
@CarlitosDessay
and you are such a hypocritic person as not to be offended by your favourite singer behaving like a cheap prostitute on stage (and an ugly one) but by the person who describes her
We dont want to see anymore of her TITS AND PUSSY onstage... get that message to her pls :)))
LohengrinT 7 months ago
@LohengrinT look, i don´t know what´s wrong with you, why you try to offend people so hard here, i think what is awful here is your attitude and your insulting messages. We are talking about opinions here, you are not Mozart to tell people what to think about music, so better (gonna use your slang vocabulary) shut the damn fuck up. got it?
CarlitosDessay 7 months ago
Comment removed
LohengrinT 7 months ago
@CarlitosDessay
you were also highly insulting towards Netrebko but that doesnt count because... hm... it was coming from you? the ALL FATHER? ::)))))))))))))))))))))))))))))
YOU ARE AN IDIOT
LohengrinT 7 months ago
@LohengrinT when have i even insulted miss Neterbko! I love her! please, stop fighting, there´s no need for fighting! this is no competition! we are all people who like/know about this, please, stop it, can´t we all just be mature work-mates and friends sharing this lovely-amazingly-interesting-worth-soul-filling art? why do we have to be constantly discussing our opinions with insults and violence!! I just don´t get it, I´m sorry but this is just too much, Lohengrin, you win, whatever you say.
CarlitosDessay 7 months ago
@CarlitosDessay
so you actually agree that Dessay appears on stage like a cheap prostitute the last 12 years? :))))
wow interesting :))))))))))))))))))))))))))
LohengrinT 7 months ago
@CarlitosDessay
very cheap though because she is so ugly that I wouldnt fuck her even if she paid me actually :)
In fact I wouldnt be able to fuck her even if she had given me like 300 euros and I had swallowed two viagra pills just before :))))))))))))))
LohengrinT 7 months ago
@WiseMonkey888
Caballe was descent when she wasnt forgetting the words, the notes, the ... in very few of her Bolenas... devia and sills were both nightmares
LohengrinT 7 months ago
@mcdandante no fighting, boys, opinions are opinions. No one says here Miss Netrebko is a bad singer, but you must admit this isn´t her best.
CarlitosDessay 8 months ago
@CarlitosDessay Her best roles - my opinion - she gave in La Traviata and L´eliisir d´amore. I have both performances with Anna and Villazon on DVD...:)
zskfan100 7 months ago
@CarlitosDessay
well Dessay isnt singing her best the last 12 years now but she still is showing her tits and rubs her pussy onstage and you all go: bravaaa bravaaaa :))))))
LohengrinT 7 months ago
@LohengrinT i think you just proved to all of us what an unpolite, rude, unappropriate and vulgar human being you are, anyhow someone who likes Lady Gaga speaks for itself, don´t you think?
CarlitosDessay 7 months ago
@CarlitosDessay
well vulgar unpolite and rude is Dessay who while being an incredibly ugly woman keeps showing to all of us these last years her tits onstage or rubs her pussy onstage and you are all so idiotic as to pretend u dont see that and scream brava brava :))
LohengrinT 7 months ago
@LohengrinT what makes you think i go brava brava when i see her singing? first of all i judge more than just her extreme phisical performances...i don´t like her 100%, i only think she is fair enough to be where she is. I don´t know why i ofended you with my comment on Netrebko, i think she is great, all i´m saying is that this wasn´t, IN MY OPINION, her best. Stop saying stupid reasons, and give me real (technique, interpretation...) if you can/know...
CarlitosDessay 7 months ago
@CarlitosDessay
technique? about Dessay? she has lost in the last 10 years all her top notes, the remaining B and C6 wobble more than anyone can handle, she totally screams to project in middle and higher middle voice and she has completely lost her agility and goes off tune all the time... that does not bother me it happens to all singers with age....
the fact she goes onstage like a prostitute bothers me a lot I dont like going to Opera to watch cheap porn ty!
LohengrinT 7 months ago
@LohengrinT so did Callas, but because she just was famous you all went Brava Brava, and so Domingo, Pavarotti, and so many others of their time. If you don´t like her, then don´t watch her performing...but if she works so hard and so often for Met, Lyon with so many other theaters and tape cds and dvd it should be meaning something for oyu...or wait...are you Mortier or some super voice in music? something tells me you´re not...
CarlitosDessay 7 months ago
@CarlitosDessay
no actually when Callas lost her voice we began booing her and we still do :)
I personally never listen to her post 1960 recordings with all that wobble
Something tells me you havent got a clue about what we talk here and you are NOT a musician :)
But Callas and Pavaroti and Domingo never went onstage as ugly as Dessay did, the woman needs a psychiatrist as most of her fans do :)
LohengrinT 7 months ago
@LohengrinT Pavarotti didn´t know reading music, and look at Domingo, he doesn´t know the difference between singing Händel and Puccini, actually in both roles is awful because he has had a very ugly voice ever since he turned 35, of course i wasn´t there to tell, but tapes speak for themselves. I like Dessay because not only i like her voice/performing many opera characters but she is also a god actress (no matters what she shows or not on stage)
CarlitosDessay 7 months ago
@CarlitosDessay
by goof acting you actually refer that she is jumping around onstage all the time and on tenors showing how sexually deprived she is... and that she had once a tenor licking her pussy in one of her performances
Well I ll tell you this... try do that in acting bussiness and if u get succesful I ll give you a bow :)))))
LohengrinT 7 months ago
besides Lady Gaga shows much more than her, and that she does is not even music, that´s just something VERY ugly.
CarlitosDessay 7 months ago
@CarlitosDessay
ahhh you bring up my most favourite subject here
Why Lady Gaga rubbing her pussy is FABULOUS but Dessay rubbing her pussy is atrocious... because Gaga does it with FAB STYLE plus she is a remarkable musician (which you will never be :)))
Plus Gaga has a fabulous body (one of the greatest bodies we have ever seen in show bussines) while Dessay is atrociously ugly
Is it the same to see naked a top model (HEAVEN) and someone as ugly as Dessay?
LohengrinT 7 months ago
@LohengrinT oh so now it´s about vanal things speaking, so not into it...sorry...i need to go back to my books :) have fun!
CarlitosDessay 7 months ago
@CarlitosDessay
well sorry to disappont you but if you fail to see Gaga's musicianship you havent got the slightest chance of ever becoming a musician :))))
LohengrinT 7 months ago
not gonna start a discussions about Callas but you must know that there are two types of people in the world of music knowlege (in which we shouldn´t be considering ourselves yet, maybe in 2 years but not now, hehehe) the ones who say she was perfect, the ones who say she was such a big faked mistake in music (and both of them were there to tell, i think we should first listen to their opinions)
CarlitosDessay 7 months ago
This is FILTH!!!!
After hearing this ... I eagerly look forward to hearing Angela Meade in the role at the MET!!!!
KathrynARyder 8 months ago
@KathrynARyder What part of this performance you consider to be filthy? It's easy to talk smack about artists, but can you at least explain why you have such resentment toward Anna?
erginakif 6 months ago
Tengo que borrar la interpretación de Callas en mi mente, porque si no esta no la encuentro muy buena :(.
Pero no puedo negar que esta mujer tiene bellísima voz!!
Frigg567 8 months ago
However, having listened to Callas several times may serve her better in her most difficult role to date.
gabbs312 8 months ago
Not only that Netrebko has a beautiful voice, she has the vocal chops for the part too.
gabbs312 8 months ago
Netrebko's genius is more appreciated by today's generation.
gillimut 8 months ago
Please don't compare her to Callas. They're very different. Netrebko comes out differently, "more inspired" by and not copied.
shayrobbins 8 months ago