parterre box

45 comments

• CelticGoddess says:

  armerjaquino, thanks! I’ll deny nothing that you’ve said. Netrebko’s basically lyric instrument is far better suited to Violetta than Lucia. Villazon was in his element. Sadly, this justly renowned production helped launch them both into the stratosphere. Since then, neither has taken much time to come back to earth and keep their technique grounded. So, so sad…

  on February 7, 2009 at 11:43 PM
• Constantine A. Papas says:

  How things change! Many on this blog crucified the “Eurotrash” Traviata and Netrebko singing. Slowily, it’s becoming- and it is- a masterpice!

  on February 8, 2009 at 12:29 AM
• Lindoro Almaviva says:

  I do not see how Violetta dying on top of a giant clock is a masterpiece.

  on February 8, 2009 at 3:21 AM
• Attila says:

  All this fantastic discussion has had been searching through my downloads to sample the Lucias of Dessay, Damrau and Massis. It’s obvious that for all three of them the almost impossible music of Lucia comes much easier to them, and yes Dessay even sounds like she is mad – whichever opera she is in! But last night’s Lucia moved me to tears, whether because it was such a personal triumph for Netrebko or whether because it actually dripped with humanity only time will tell. But – as with her London Traviata from last year – every note, every syllable for me dripped with the sort of pathos and intensity which is why opera is such a passion for me and many other people.

  on February 8, 2009 at 4:34 AM
• MICHAEL says:

  God, she sang all the time as if she had something in her mouth, beautiful but muffled sound, no expression, and words as if she didn΄t know what she was saying.

  on February 8, 2009 at 5:54 AM
• spiderman says:

  #25 things like expression and “knowing what she is saying” is totally subjective of course. I bet there are 100 of people who think quite the contrary

  on February 8, 2009 at 7:32 AM
• Bill S Preson Esq says:

  I switched on Radio 3 last night and was very unimpressed with the soprano singing I heard. Imagine my surprise to find I was listening to was the inspiration for this hotbed of controversy!

  I have tickets to see Netrebko in I Montecchi e I Capuleti at Covent Garden next month and frankly, I can’t wait. It’s going to be fascinating to see how my altered expectations compare with seeing her live for the first time. I shall be approaching it with an open mind!

  on February 8, 2009 at 8:35 AM
• Lyndon says:

  Michael:
  Words? Was she singing words? Are you sure?

  on February 8, 2009 at 8:39 AM
• DottoreMalatesta says:

  Attila,
  it’s a shame that her Covent Garden Traviata with Kaufmann isn’t going to see the daylight. Fortunately I have a recording of the BBC radio broadcast. It is just wonderful.

  on February 8, 2009 at 9:12 AM
• doug says:

  amerjaquino — there’s no doub that dessay has a theatrical flair, but acting is different than histrionics. in her lucia, dessay uses intention like a paintbrush — on this line, i’ll show you this color, on that line, i’ll portray this feeling. i am SO AWARE of choices and technique when i watch her onstage. it’s VERY self-conscious (la cieca made a similar point above vis-a-vis gheorghiu and the awareness that you are a watching a prima donna rather than a real person). dessay can also be very selfish onstage — one of the reasons i loved her manon so much in chicago was that kaufman got her to relate and react to him, so there was a true scene going on, rather than preplanned emoting. i still do love dessay no matter how often she overdoes it (she is still a zerbinetta and morgana for the ages and i’m very glad i experienced her manon), but she does tend to hit us over the head with the acting. the irony is, i actually adore her voice, even in bel canto. i love all things french, so the particularities of her timbre are not problems to me.

  on February 8, 2009 at 10:15 AM