Sing a little, chat a little
La Cieca (not pictured) reminds her cher public that tonight's 40th Anniversary of the Met at Lincoln Center gala will be the subject of an online chat right here at parterre.com.The program, starring Anna Netrebko and Rolando Villazón, begins at 7:00 PM and so the chat room will open at 6:45. Maestro Bertrand de Billy will lead the duo in staged performances of La bohème, Act I (with Mariusz Kwiecien as Marcello); Manon Act III, scene 2 (with Samuel Ramey as the Comte des Grieux); and L’elisir d'amore Act II with Mr. Kwiecien as Belcore and Alessandro Corbelli as Dulcamara.
Labels: chat, cher public, gala, met, netrebko, sirius, villazon
POSTED at
10:38 AM
50 Comments:
Why?
Cieca, you seem to be harboring a little crush on these two lately.
lourdes,
Well, they are exciting new(ish) names, it's true. But the main motivation here is that we haven't had a chat in a while, and this concert is enough of an event that I think we should get a large turnout of chatters.
Royalty needs not justify herself. We're always happy for the opportunity to chat with La Cieca.
My question is how much did they have to play Ramey to fly in and sing the Comte's very small part (well, small in that scene anyway.)
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Of course all I can do when I look at that still from The Music Man is growl "BAAAAAAAAAALLsack".
Which I regret to report, I completely missed as a child...
Anyone know if Leontyne is taking any part in the festivities?
Soooo, how'd it go? I missed the chance to chat with dear Cieca because Pesach festivities beckoned. Trebs and Villy have nuttin on the ten plagues. And my neice can say a mean four questions:-)
IT WAS FABULOUS! There are no other words to descrribe their elixir. Though the first half was quite average and ho hum, the second half was nothing short of miraculous. This was the first time I have heard netrebko so polished, subtle and refined. She was in control of her voice and technique. Her supple tones, endless phrases, CLEAN colorautura and gleaming high notes were extraordinary. I hope this is a sign of things to come. Hopefully she will carefully study and practice roles as she clearly has done with elixir (and so clearly did not with puritani). Also, no recording or broadcast can do her voice justice! There is something very special about hearing her pianissimi live, and her high C's are a force to behold. She's made a fan of me!
What a joke that "gala" was.
Hardly a truly centered pitch by anyone all evening....especially Mr. Bean and Niblets. Cracks galore, pushed, sharp singing.....Trebs making utter hash of her triplets at the HUGELY cut finale of her Elixer aria. Does she EVER sing anything as written??? Or is that just asking waaaaaaaaaaay too much? What the hell is she singing anyway?....and some people dared to complain about Sutherland's diction?????? They both sounded like train wrecks. She is really consistent at least.....Sad shit man.
Madamina, how was it? Like Lourdes, second seder kept me from listening, although I have already received download files. Can you recap???
I missed the chatting and hope you will make another opportunity for us to dish.
Well, like all things at the Met, it was extremely over-hyped. Having said that, it wasn't a /total/ disaster... I came into this evening with very low expectations, and was pleasantly surprised. This was the first time I'd heard Villazon, and I rather liked his voice. He was pushing very hard in La Boheme, which I think maybe caused him much grief later, but I really liked how impassioned it made him sound in Che gelida manina (I also like Carreras, whom people describe as trying too hard). Anna was in gorgeous voice, though she had some pretty awful slips in L'elisir. But I have to say 90% of what she sang sounded very flat and apathetic. So overall, gorgeous voice, unengaging performance. The real stinker of the night probably has to be the chorus, or should I say anti-chorus? Ensemble-wise, L'elisir was a total trainwreck. There were at least 3 points where it was just every person for themselves and let's just hope we all somehow end in the neighborhood of the same measure.
In summary, I was expecting to hear a pair of under-talented and over-hyped media-babies, but I actually heard a performance that was pleasant for the most part. I think both singers could live up to their hype, but I wouldn't say this performance did.
You people are ridiculous. I was in the house tonight, and basically expecting the kind of comments that have been posted so far. Yes, Villazon sounded weak, his voice didn't carry over the orchestra and with the exception of "Una furtiva lagrima" when he was singing a capella much of the time, he was pushing it. But opera, my friends is about listening and seeing and Netrebko was - IN THE HOUSE - an incredible thing to behold. Given that this was a GALA - which would mean to me that they probably had three rehersals tops - the Elisir was incredible. Yes, at the beginning the orchestra and the horns on stage and the chorus were terribly off and grating frankly, but once they got past that Netrebko - in the house - was impossible to take one's eyes off. Her vocals were dead on, despite what people may claim, and watching her was simply ridiculously enjoyable. I just spent the winter in Europe (Vienna and London where of course they know NOTHING about opera) and they would have gone batshit over this performance, which they did for Netrebko's Manon and Florez' Fille. I don't know what you people seem to have against Netrebko but after tonight I have realized that it is has nothing to do with what actually happens IN THE HOUSE. Because if you were there, it was incredibly enjoyable to watch AND listen to.
You people are ridiculous. I was in the house tonight, and basically expecting the kind of comments that have been posted so far. Yes, Villazon sounded weak, his voice didn't carry over the orchestra and with the exception of "Una furtiva lagrima" when he was singing a capella much of the time, he was pushing it. But opera, my friends is about listening and seeing and Netrebko was - IN THE HOUSE - an incredible thing to behold. Given that this was a GALA - which would mean to me that they probably had three rehersals tops - the Elisir was incredible. Yes, at the beginning the orchestra and the horns on stage and the chorus were terribly off and grating frankly, but once they got past that Netrebko - in the house - was impossible to take one's eyes off. Her vocals were dead on, despite what people may claim, and watching her was simply ridiculously enjoyable. I just spent the winter in Europe (Vienna and London where of course they know NOTHING about opera) and they would have gone batshit over this performance, which they did for Netrebko's Manon and Florez' Fille. I don't know what you people seem to have against Netrebko but after tonight I have realized that it is has nothing to do with what actually happens IN THE HOUSE. Because if you were there, it was incredibly enjoyable to watch AND listen to.
Well, I have stayed quite too long. I am tired of people, who were either not in the house or have some ridiculous bone to pick with Netrebko bashing her for no reason. And tonight, I am sorry, but if you were actually there and saw what went on, there is no way you could have been disappointed. I agree with scifisci whole-heartedly. Villazon was pushing it all night. He could not sing over the orchestra (and Kwiecien stole the duet in Elisir easily). But in "Una furtiva lagrima" when he was basically a capella he sounded great. At the beginning of Elisir there was serious disconnect between the horns on stage, the orchestra, and the chorus. At times it was painful. All this being said, Netrebko was dead on. Opera is about visual as well as auditory, and if it wasn't, well we could all just listen to recitals from our homes. If you were there - in the house - tonight, she was impossible to take your eyes off of. No, the Boheme was not the greatest thing in the world but really, it is the first act. Please. Anyone who saw the Villazon/Netrebko Boheme in December knows that it didn't get going until Act III when it became incredibly memorable. Netrebko seemed to hit her stride when she grabbed Villazon at the end of the Manon scene and pulled him into her, causing an audible gasp from the audience - in a good way. And Elisir was great. Anyone who says otherwise was not WATCHING or LISTENING. It was a gala - meaning, three rehersals tops. And it was great to watch. Netrebko was incredibly playful, confident and her pianissimo was very moving. High notes were all there. Solid. I just spent the winter in Europe (London and Vienna) and if this had happened in either of those places (where clearly they must know nothing about opera) the crowd would have gone crazy, which - for the MET - it seemed to. A well worth it night. And yes, Ramey's wobble was in full effect.
La Cieca - I didn't mean to multiple post. Please remedy my unintentional error. Thank you and I apologize to the readers.
Well, I agree with a lot of what you said Bashweary. I think you are correct. Opera is indeed a visual and auditory experience and it is a marriage of the two. Give and take. If they aren't singing too well, then we all pray they are at least acting well. Otherwise, it's just bad singing, right? But, I think for me the trouble with Netrebko comes with her looks. If she were ugly and sang the way she did then no one would care. She is beautiful and charismatic so we, the audience, forgives a lot. But, I think we have a career along the lines of which she is having, mediocrity shouldn't be the aim. I think at times she sings like any dime a dozen soprano. There are also times when she is absolutely captivating. She is a beautiful woman with a beautiful voice, no one can deny her that, but her musicianship leaves much to be desired. Having said that, I would take her passionate approach to singing over that boring metallic soprano crap any day of the week. For me, Netrebko isn't overhyped she is just not living up to her potential. She has the entire package of a superstar but for so many of us she will never achieve that status b/c she isn't devoted to her scores. I have yet to hear her sing coloratura. Some have claimed she sings coloratura, but my thoughts she is a lyric trying too hard. I wish they would let her sing what she could excel at, which is the lyric repetoire. She would be fantastic.
thank you bashworthy! I think it's very important especially with netrebko, to judge her LIVE. If one was actually there, you would undoubtedly remember how the entire audience held their breath in the elisir duet after "una furtiva". There's simply no way to deny Netrebko's magic in that scene. For example, on the broadcast, could you really get the full effect of her crecendo on that high C in the duet? Probably not. But live it was thrilling!
Conversely, as I said before, the first half was pretty mediocre. The manon especially lacked much emotional investement. And also involved too much writhing on the ground for my taste.
Sam Ramey must have some dignity and respect for the audience and retire!!!! Basta!
I was in the house. Most successful act was the Elisir. Boheme started off well but had some ragged ensemble issues. Villazon used the lower C major transposition of the aria. Netrebko's Mimi was on the sex kitten side interpretively, though the opening of "Mi chiamano" was completely devoid of portamento. Intonation from both was rather spicy throughout the night (the final "amor" sounded like a perfect fifth!!). In San Sulpice, Netrebko at one point laid down on the floor of the church and sang (has this become her trademark cliche?) which seemed rather inappropriate even for someone like Manon. She and Villazon sang and acted with a generalized and often frenzied passion, but without much of the nuance and subtlety that others (e.g., Fleming/Alvarez) do in this scene to much greater effect. Villazon's Nemorino was endearingly goofy but his singing came across as affected; he often resorts to a popish, off-the-voice appogiatura scoop into long notes, and made some strange vowel darkening choices. It also seemed like some of his high notes wanted to get away from him...he was lucky tonight, but I fear this breakneck schedule he keeps is taking its toll. Netrebko's best singing occured in the duet after "Prendi" where she showed just how well she can move the voice when she wants to, but alas the final triplet runs were faked. Her C's were decent, better supported at full-voice than piano. Mr. Kwiecien was the most satisfying performer of the evening as Marcello and Belcore; his virile figure and fine, polished, consistent singing would make me want to run off with him were I Adina.
Overall the gala seemed rather under-rehearsed and musically sloppy (some unexcusable rhythmic liberties from both headliners), and Mr. Billy's tendency toward the fast side of tempi didn't always help. During the enthusiatic curtain calls I couldn't help but feel like I had just watched one of those movies where it seems the actors had a lot more fun making it than you did watching it.
Sills and Scotto were seen in attendance. Arroyo showed up for the post-performance reception.
We’re getting a little defensive here, aren’t we?
Bashweary- It’s obvious that you’re a huge Netrebko fan, and that’s great! You should stand up for her! But listen, less is more in these kinds of things, and your review and your stubbornness about seeing ANYTHING bad about her performance and criticizing the opinions of people who were there as well comes off as ignorant and condescending.
The more you shove her down our throats, the more we’ll repel, see? A good critic in my opinion can see both sides and make his point rationally. It’s great that you loved her, but it’s equally as great that some people didn’t (well, not for them, since they probably paid for their ticket) but every opinion written so far I feel has value. I do feel that Anna, Rolando and this whole Gala has been grossly overhyped in the past months, and it’s not their fault. But like I said, the more we are forced in to like something, the more a lot of people will turn away. I’m sorry to say that I’ve grown so sick of all this “Greatest Soprano” BS with Anna that it’s turned me against her somewhat. This is sad because she is, in our host Cieca’s own words, an exciting new(ish) artist.
Again, I’m glad you enjoyed the Gala and Anna, but remember, it’s okay if some people didn’t enjoy it as much as you did.
You are correct Lourdes about my defensiveness and your points are very well taken. I actually woke up regretting my tone and I apologize. I understand completely what you are saying about having something shoved down your throat. I am a Netrebko fan, yes, but I do not think she is the greatest thing in all of opera. I actually thought Puritani was very unsuited for her voice most of the time. I still enjoyed watching it, and thought the Mad Scene was compelling, but the rest of the time, I frankly found myself wishing for the cast from Barbieri to take the stage and liven the thing up. I saw her Manon in Vienna with Alagna and did not think last night was as good, but also they only had a couple minute pause to go from Boheme to Manon, a change which must have been slightly difficult (Italian to French, poor to rich, poet to priest). And I did not think her Mimi was as good as in December. I can criticize her, I just don't always understand why others do SOOOO much. As for her marketing, I wonder - seriously - how much of that does she really have a hand in? Singers in general, do they say "I want you to push me until half the operagoing public is sick of me?" I guess I can't see that, I sort of see it the other way round. If anyone does know though I would be very curious. Again, Lourdes, I'm sorry for my tone and thank you for yours, much more mature, for lack of a better word.
No worries Bashweary! I’m glad you’re able to see both sides instead of getting even more defensive like some people would! I enjoyed reading your post! In general, I don’t trust completely positive reviews because a show is never perfect, and it just sound smore believable when people say, here’s the good, but also the not-as-good.. I appreciate you not getting angry with me, I am new to this sit after all! Your observations are actually very much appreciated since I was not able to listen last night.
I understand that right after a performance, the adrenaline is so high and it’s so exciting just being at the Met. Sometimes perspective only comes after a good night’s rest
Anyway, I’m glad you enjoyed the Gala!
Lourdes and Bashweary--
What a refreshing change! No sniping, no vitriol--bravi!
I look forward to listening to the gala but I am very concerned about Rolando's vocal health. When I saw his schedule, my jaw dropped. Lourdes, you wrote about a singer's involvement in marketing campaigns and I ask the same about scheduling. Rolando cancelled the opening performances of Hoffman at the Bastille and several Bohemes in Vienna. He and Anna have a series of concerts throughout Germany before they do Manon in Berlin in May. I hope he does what he has to to take care of himself. Opera is such a punishing, unforgiving profession: singers are like atheletes and performances vary from day to day--witness the comments here and elsewhere. Given the price of tickets, especially for this gala, audiences want perfection and anything less than that comes off as a betrayal. Perhaps the proliferation of HD broadcasts will enable us not only to hear singers but to see them as well, so that we can make better informed judgment. Or not!
And thank you, madamina cieca, for your wonderful contributions. I'm sorry I missed chatting last night. Do it again soon.
Donna Anna-
Indeed vocal health is a concern here.
Just look at what has happened to poor Roberto Alagna. He was pushed so hard in his early years with a ridiculous schedule, and look at him now. His voice isn't what it used to be and I think him being so overworked contributed to this. That's one of the reasons why I'm not liking all this hype about Anna or Rolando. It almost never leads anywhere good, although I agree that singers probably don't have a lot of say in the matter as some think. I hope they both learn to respect their limits, and maybe slow down just a bit.
I just got my ClassicFM in the mail declaring these two "Opera's Golden Couple" (the one marketing thing that has really annoyed me...they're not a real couple.) I rest my case.
Netrebko better had look out as there is a new Russian star on the block.
She is singing Tatiana and Elisabetta with the Royal Opera next season. And she is part of an operatic couple although her husband admits to being 40 years older....http://www.thisislondon.co.uk/theatre/article-23391518-details/article.do
So many Russians!
I have enjoyed reading this thread, and greatly enjoyed reading and taking part in the live forum last night. People were generally a lot of fun and were very nice to one another.
I am also sure it made all the difference in the world to have been there. It always does, but especially so with something like this. But most of us were listening online, in an arragement that the Met itself had made -- so we were "invited" and were part of the complete live audience, even if we couldn't see or feel everything.
So all that said, I was very pleasantly surprised by Netrebko's performance and general sound. I am referring to what I heard - not whether there was transposition or departure from the score, which while they are genuinely important in assessing the quality of the performer (alongside other instances of the same by that artist and others), do not directly affect the impact and enjoyment of the sounds and musical qualities. I thought AN was very enjoyable and at times exciting, and overall she acquitted herself very well. I will be more open to finding qualities in the rest of her performances as a result - though I do remain very concerned about her choice or lack of ability to trill in bel canto works.
Villazon was another matter. If I had not happened to hear the now notorious Heppner "Lohengrin" performance, it would be the worst example of distintegration I had heard on the stage of a leading opera house since I heard Tristan in the early 1980s when a reviewer wrote: "Richard Cassilly... proved entirely unable to manage... passages without emitting strange barks and squawks. In the second-act love duet with Miss Behrens, his rough efforts to blend with her nuanced, voluptuous tones were hard to bear."
For whatever reason (and I think it was forcing himself too much on the night, rather than too much singing per se) his voice was completely out of control. It sounded dnagerously wild in "Boheme", and went all over the place in "Manon". As well as being perfectly HORRIBLE to listen to, it made me nervous and unable to relax. If this had not been such an over-hyped gala he would not have wrecked his voice for the night by reaching for effects that were beyond him - or, if illness or other problems were to blame, would have cancelled. But his voice is nothing like as big and grand as hers, or as capable of wide-ranging dyunamic nuance, and forced to equal rather than simply partner her, it all came apart. I gave up during the early part of the Donizetti when he was also a full beat behind the orchestra and sounding more and more like a sinking ship. A graceful "Lagrima"! makes up for this not one iota. He was a disgrace.
So overall, I am afraid, a "boo", but with a real gain from Treb. On balance, a worthwhile consolation prize. But then, I didn't pay $500.
Lourdes,
Yes, Alagna is a sad case of vocal decline, although the Vienna Manon was good. He's not the agile actor he was in earlier years, either. The starmaker machinery is pretty brutal and it must be nigh impossible to withstand. I want all these amazing singers to be performing for my grandchildren.
That would be nice wouldn't it!
Although I have a feeling that once Alagna retires or dies (knowing him, it may not necessarily happen in that order) he'll be regarded as the Anna Moffo of Tenors. A truly thrilling star who just overworked himself in the end.After reading Charlie B's post, it looks as if Villazon is rearing to follow this path as well.
I'll always have a spot in my heart for when Alagna sings with his wife. No matter what people say about Gheorghiu, those two have chemistry beyond chemistry and great vocal balance. It seems she's continued to climb while he hasn't. Maybe for her sake he'll try to mend it (although is it even possible at this point? I have a feeling that the damage is already done.)
Rolando, if you're reading this, Take note!
As well as his busy schedule, I would also blame Alagna's repertoire choices. He wants to be a Verdi tenor and he's only suited to the lighter Verdi roles. He has no business singing Radames.
I think that Villazon is a real gem and I, too, worry that he's oversinging. He gives every performance his all and that's just how he is. But he can control his schedule if he wants to.
"No, the Boheme was not the greatest thing in the world but really, it is the first act. Please. Anyone who saw the Villazon/Netrebko Boheme in December knows that it didn't get going until Act III when it became incredibly memorable. "
This comment is insane. How many Bohemes have we all heard/seen where the phrasing and vocal colors in act one are to be remembered for a lifetime? To say Boheme doesn't really get going until Act III means that two of the greatest acts in opera fell flat.
I in fact enjoyed the Boheme the most of the evening (I was lucky to have the night off and be in the chat room with glorious La Cieca and all the rest). Villazon, other than the two notes that were really trouble, was sensous and nice, and the Bohemian ensembles were much cleaner than anything in either act. Plus the fact that it was sans chorus was a treat.
She really blew off the Manon, which is a shame, because I think if she studied it, went for it, and figured out how to sing the Gavotte, it would be a great role for her. He was a disaster by then and I think that's when de Billy really started to push to get them out. As a conductor myself, I've been in plenty of situations when you have to move things along for an ailing singer. However, you have to have the coordination to keep everybody together as you push--the chorus and the orchestra were unbearably out of sync.
She was 50% terrific and 50% sight reading in the Elisir, where he made absolutely no impression. I'm sure the "Una furtiva lagrima" was lovely in the house, but on the radio it sounded angry (someone in the room said that and they were absolutely right).
Highlights: Her Mimi, Mariusz Kwiecen, Mignon on the intermission.
That doesn't exactly make a Gala for me.
They should go back to everybody gets an aria kind of galas (not that the Volpe was brilliant).
Anyone else remember this:
http://www.metoperafamily.org/metopera/broadcast/display.aspx?ID=8986&catid=70
or even better this:
http://www.metoperafamily.org/metopera/broadcast/display.aspx?ID=8994&catid=70
And what's best, no one was referred to by only their first name in the title of those galas. Can you imagine JOAN AND LUCIANO SALUTE THE MET? Boggles the mind.
I was in the house for the Mariusz Kwiecien Gala. Am ecstatic the goatee and mustache are back (he shaved them for the Houston Don Giovanni). He looks great in white ducks and a uniform too. Anyway, I'm all set for next season: the first Mariusz Kwiecien Opening Night.
There were also several other singers in the cast though I'm sure (like me) you wonder why. (The Comte is about the size role Sam Ramey can handle these days -- wouldn't want him singing more.)
Netrebko's voice is really a thing of beauty, and she looks and acts well, but I sometimes wonder if she knows what she's singing -- it's a bit unvaried in quality. Her coloratura was a LOT better than it was in Puritani, as was her pitch. Also, she did not sing the whole damn thing with her eyes rigidly fixed on the conductor (as she did the Puritanis), and I always appreciate that service to realism. (Stoyanova, in Traviata, did not seem to look at the conductor once, her acting was totally realistic, and her rhythm was never off by a millisecond. THAT'S a pro. Also a very beautiful voice.)
I'd never heard Villazon in person before (they do tend to cast him only in the dullest operas) and was rather disappointed by his obvious straining in Che gelida manina -- a friend said he had a cold. I am NOT offended if a singer under the weather takes lower keys to give a good performance. Ah fuyez was, however, nothing much. He improved markedly by the Elisir act, sang beautifully -- but, having caught the ailment from Netrebko perhaps -- all at one dynamic marking. No variation, no sense of internality to it: it was all exhibition.
It was a very pleasant Elisir 2nd act, mostly due to the Dulcamara of Alessandro Corbelli. For witty performing, dancing diva, and glorious tenorismo, plus wonderful production, it did NOT come near my first two Elisirs back in 68 (I was minus ten years old) with Peters, Corena and Gedda in the grand old O'Hearn-Merrill production. (Were they the best design team in Met history or what?)
I'd certainly rather hear Netrebko in this role than Gheorghiu's rather bitter sound. (Swenson was terrific in it too, one of her best roles.) My jury's still out on Villazon. It's a good voice -- but a great voice? No matter: better a good voice than worse, if the public is going to go ape-shit over someone.
I actually like Gheorghiu's Adina, although the tone is rather dark. I enjoy the DVD more than the CD, probably because with many comic operas, they are just more fun and more involving when you are actually SEEING it performed.
Sounds like an overall good gala, the Met got more money, yippee, even if the evening didn't hold up to expectations. In other words, nothing to miss a passover sedar over.
I finally had a chance to listen to the first two segments and AN was just wonderful. What an a character completely. "N'est-ce pas ma main?" was pure seduction, a vocal French kisactress--even without seeing her, she inhabits s (how could Alagna's response to her in the Vienna Manon be so wooden???).
Rolando sounds....tired. He was dramatically engaged in Manon but you couldn't miss that blat in Ah fuyez. Still--no one can bat 900 and let's give them a break. I'd pay to see both again, together and separately.
But Rolando: signor, judizia, per carita.
Whoops--sentences got scrambled. What I wrote was that AN is an amazing actress: she inhabits a character so completely and her voice conjures up the character with almost stunning visibility.
I must admit I was a little disappointed by the love couple especially after what I paid in ticket price. But lovely Marius and Alessandro Corbelli were fantastic. The L'Elisir was a total joy on all counts. As far as the Love couple, trebs seemed tired vocally and sorely underrehearsed there just was no cohesion with her and the pit. As far as Villazon, who the fuck could not hear the 2 HUGE cracks during Ah! Fuyez. The deaf really should not be writing reviews, PS I was in the House and they were COMPLETELY audible. The Boheme was a disgrace on his part and Manon was an embarrasment. Trebs kinda phoned it in for thge MAnon but her voice is so gorgeous you forget about it. Ramey is horrible. Why can't they just let him go. Let him wobble through a farewell gala and be done with him and Plishka.
Oh my gosh. Revelation. Since this is a blog about Trebs and the gala I thought I would point out something. I was stalking youtube, which is soon becoming a regular occurence, and found a clip of sylvia sass singing the jewel song from Faust. Wow. Talk about uncanny. To me, that is Netrebko. Their vocal timbres are so simliar, they have similar physical features, etc. Hopefully, Trebs won't make the same mistakes Sass made. Let me know what you think. I think they are remarkably similar.
I'm puzzled by the criticism of Netrebko, who, in my opinion, is one of the most exiting singers around. And I've seen, live, all the geat sopranos of the last forty yrears. A perfect voice, if one were ever existed, does not make a soprano great. What it does is the visceral response of audiences. Callas did not have the prettiest voice but she drove people crazy! Why? Maybe the charisma of combining expressiveness in singing-voice, and body language- acting.
The singing human voice, especially a soprano's voice, is the most delicate and prone to mistakes musical instrument. A singer has nothing to hold on, like an instrumentalist, and relies on two folds of tissue-the vocal cords- to produce a singing sound of a particular timbre and color.
A coloratura soprnano reaches a state of insanity, physiologally speaking, while poducing a singing sound. What Beverly Sills said on the air (whom I've seen in Don Pasquale and Tais) about "Elvira" it was the most intelligent commentary: "Elvira is a loony lady singing loony tunes!" It's like asking a violinist or a cellist to play in perfect pitch and all the tunes with only two cords. That's lunacy! When a soprano sings, her vocal cords can vibrate from 400 up to 1000 times per second when she reaches a high C! Sonically and acousticallly speaking, this is incomprehensible in the production of a singing sound. When Netrebko, or any other soprano sings, if you put your brain in her voice box, that high speed will scramble it!
Of course, we should demand preparation and artistic integrity from opera singers so long as we understand that Netrebko and all the othes are trapeze circus performers with no safety net to protect them from falling to their deaths. How many of you have the guts to do that? I think Netrebko's whole package- voice, acting, beauty- is intimidating to some amd makes them vitriolic from envy. Comparing Netrebko to other sopranos of the past and present- voice notwithstanding- is futile. Netrebko is not better but different; and that makes her unique.
As form me, I own everyting of Netrebko's- DVDs and CDs, and she has given me the utmost operatic experince. Although living on retirment income and so far away form New York- in the most westerm part of Texas- I'll fly to NY at the drop of the hat to see Netrebko in a Met production, if I can find a ticket. Ufortunately, all her perfomances were sold out last year, like her Manon in LA, which is so much closer to where I live. I'll try next year, again, keeping my fingers crossed!
Don't be puzzled. It's their opnion. It may not have much to do with her voice, it may just have to do with vibes, and what appeals to some may not appeal to others. You like Netrebko, I don't. I like Gheorghiu, and I know that a hell of a lot of people don't. Neither of them are going anywhere though, so don't worry, criticism is part of this profession.
Although, are Trebs and Vill really the 'Love Couple', or was that facicious?
OK, the august New York Times has weighed in with Bernard Holland, who always takes at least four paragraphs before giving any sense that he actually saw the production. Here's the link:
http://www.nytimes.com/2007/04/05/arts/music/05gala.html?_r=1&oref=slogin
Once again, the civility of this discussion is so impressive.
Question for La Cieca and any of your European readers:
AN and RV are in Manon in Berlin. Will this production be televised or recorded?
I am not a gheorghiu fan but still I quite like her adina , more than netrebko's though it's a part where trebs didn't disappoint me for once.
"Glouglou" as we call her sometimes in France is quite good here I think ( but I love her voice so I forgive her a lot anyway I admit , even when she's bad)
http://www.liceubarcelona.com/
If she acted as well she sings ... not often the case unfortunately
I wasn't lucky enough to hear trebs live till now, but I'd love to. But I must say that what I heard till now was often "unengaging performances" as someone said. It's great to have a good actress and I love to watch her ( remember Tosca with gheorghiu... brrr) . But that's the matter : I had to watch her mad scene in Puritani twice on youtube cause I realized suddenly that I had stopped to listen to her step by step.
If she could sing the right repertoire for a start... I'll try to go and see her giuletta in capuleti in Paris. Hope she'll make a fan of me too!
Donna Anna,
The LA/Berlin Manon production will be broadcast live on May 9. It will be released as a DVD in the fall.
By coincidence, I'm in Berlin at the time of the Netrebko/Villazon Manon. As significant other is not a Manon fan, I'm giving it a miss. Will compensate by seeing Knut the polar bear at the Zoo.
Getting back to the Gala, the review in the New York Times today was mixed, wouldn't you say? They were kinder to Trebs than to Villazon. Once again, the Met went a teensey weensey bit overboard with the hype, and it kind of backfired.
On the subject of Trebs hate, I think we can attribute that as an intuitive responce to the media hub-bub around her. I suppose some might be jealous of her fame, though that is certainly the last reason I would have, since I'm not even in the music business. For myself, I was very cautious of accepting the image being pushed on me because I'd bought into hype before and was disappointed at the product.
As for Trebs herself, I actually think you can argue that she's the opposite of Callas (not to say that she's bad, of course) because Callas had an "unconventional" voice that may not be pleasing to every ear, but her use of that voice was so dramatic and expressive that she made it work. Netrebko, in my opinion, has a lush rich voice that is almost impossible to hate, but doesn't always use it with full expressive force. This is disregarding their respective stage-acting abilities, which sounds like they might be comparable. Again, I think Netrebko's overall performance depends on the repetoire: Whenever she sings Rusalka's song to the moon, it's like she's a completely different singer than the one who's fudging through fioratura. Every time I've heard her sing that song, I just can't help but be totally enchanted. I don't know exactly what it is, but she's doing something there that is lacking from a lot of other stuff I've heard from her.
Mille grazie, Non Mi Dir. I'm delighted to learn about the broadcast--and that's a televised broadcast, right?
I agree that Alagna's voice is not suited to the heavy Verdi roles. I listened to his Verdi cd and when Celeste Aida came on, my husband (who was in another room) yelled, TURN THAT OFF. I was already hitting the stop key. An opera-l poster made a sage and generous comment that singers have to be heard live, that a broadcast or a recording will pick up details an audience would miss. That is true enough. However, the train's left the station because the technology has given us reproduced sound in myriad forms. As I wrote earlier, if the HD live broadcasts proliferate, we can make better informed judgments about a performance. One can hope that listeners will be generous in their opinions but you can't deny any listener the right to comment on what s/he's heard or seen, as long as it's not sniping.
Coincidentally La Cieca, I think you could make a good star turn as Mrs. Shinn?
Great, the gala's over. I think we should focus our attention on more important things than 'Trebko - let's forget this soubrettina and get excited for La Millo on the 14th. And please no more Rolando let's give Ramon the credit he greatly deserves.
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