parterre box

29 comments

• BA_Brown says:

  I heard her last week. Over all, a decent Violetta, but for my money not a great one. First act not her best with some good, but mostly not do good coloratura, and not always spot on pitch singing. At least you could always hear her.

  on July 1, 2009 at 12:08 PM
• jumping clapping man says:

  my, that sure is a comely and attentive chauffeur

  on July 1, 2009 at 12:42 PM
• Lydia Language says:

  A friend who was present insists the whole performance was heavily miked. I (three thousand miles away) cannot say.

  on July 1, 2009 at 2:53 PM
• scifisci says:

  miked?! The only mic netrebko uses in “the one between her tits” in her words.

  on July 1, 2009 at 3:35 PM
• Camille says:

  June 19th I attended her performance, and the first thing I noticed was the very obviously miked sound. Not sure if it was coming from “between her tits”, but it was disproportionate to others’.

  The placement of her voice is such that she has very slight problems with intonation, just a hair or a shade off, and that makes the easy execution of her fioriture much more challenging. Noticeable was the attempt up to the D flat in alt, each time executed from below (E flat) stretching up, with the neck inclined at an angle. She sure did nail the D flat, but one could see she would have no intention of going to the E flat.

  Little did it matter, because despite the underpowered male counterparts of Castronovo and the acting efforts of Croft, Netrebko, with all her myriad faults which many are so fond of pointing out, did create a living, breathing Violetta, very moving in her Fourth Act Addio, and creating a great effect by standing stock still, for a change, as noted above. The duet with Germont pere was also well done with both artists trying to give his/her best. The nose dive back onto the bed at the end of “Oh Gioia!” was a bit of a miscalculation but, oh dear, I must say that all in all, the woman is beautiful and has a beautiful voice, and really makes you aware of that beauty and it is a good thing. She is entirely credible as the character, unlike most others, no matter how well they may sing.

  In somma, Netrebko has, at least, the real goods and even though not perfect, no one ever was, and that includes La Divina, La Stupenda. Even that great Traumatic Soprano herself, Mme. Galupe-Borszhk herself has had an off-night, just ask her!

  Marta Domingo’s conceit, according to her programme note was to draw an analogy between the ‘demimondaines’ of the Second Empire/Belle Epoque and the liberated ‘flappers’ of the Twenties. Okay, lady; the argument was admirably and precisely laid out, but who you kiddin’??? Just a new angle, that’s all. The flappers may have been but were not necessarily so ‘pay for play’ girls, but sure as hell Marguerite Gautier et Compagnie WERE.

  on July 3, 2009 at 12:10 AM
• Constantine A. Papas says:

  I’m confused. In the past, Netrebko’s Saltzurg Traviata was discarted as “Eurotrash!” Now is becoming a point of reference. I always loved it.

  on July 3, 2009 at 10:07 AM
• scifisci says:

  Camille: was this the first time hearing netrebko live? Her voice is much larger than one would assume based solely on recordings. Was this perhaps what led you to assume she was miked? I’ve heard her in a number of venues and she invariably dominates her male colleagues in terms of volume (dima, villazon, alagna, beczala, etc.)

  on July 3, 2009 at 10:40 AM
• Camille says:

  Sir Scifisci!

  Actually, no, not the first time.

  I heard her in Ruslan und Lyudmila @ Met in the late nineties, singing Lyudmila.

  At that time she seemed like a promising newcomer with a great deal of pent-up energy and yearned to really let something out, this impression based on her exposition during that long arioso she has, and only having heard her that once. I know that the general blather is she made her debuts in War and Peace in 200?, but no.

  Otherwise I have only heard her in the broadcast Puritani of a few seasons and was greatly taken aback @ what she did there. Voice size not noted, only the sloppiness of execution.

  Finally, I really don’t give a damn if she IS miked — she is refreshingly lovely to listen to and look at and a real stage animal, has a terrific high C, which she is not intimidated to really let loose. These days there are few things on the opera stage that make me happier than her voice and presence.

  Off the Traviata record, but having do with San Francisco, in late May I attended the Runnicles fare-thee-well, and at the last minute (actually the day before), Patricia Racette cancelled as soprano in the Verdi Requiem. An Adler fellow by the name of HEIDI MELTON was the substitute. She has done a few small roles in the house, but this was really a major test, and I must say that this young lady really pulled it off and far more admirably than most of the current crop of “Verdi sopranos”. Supported by Stephanie Blythe, who showed herself to have quite exquisite manners, the intricate duets with the ululations in thirds came off without a hitch.

  Ms. Heidi Melton is contracted to sing at the Deutscheoper in Berlin (Runnicles new home) and is someone to look for in the future. Unfortunately, she is no Netrebko as far as looks are concerned, but she’s got the voice.
  ***********************************
  I wonder if Netrebko would consider singing Liu in Turandot?
  Or Magda in Rondine, or give us a real blood and guts Thais?? Would she do a Sybil “Seinderson”…?

  on July 3, 2009 at 12:00 PM
• scifisci says:

  Netrebko had a smaller voice before 2005…she says it just sort of happened, but I think it is partially a result of her pushing the voice so far back, thus the lack of flexibility and all the cloudiness/thickness.
  I think her sound is a bit too much for liu, but that is just a personal preference. I don’t think magda fits her personality…netrebko seems to thrive on characters of extreme emotions. Thais is a great showpiece though, and she would be sensational, were she to seriously study french style and diction.

  on July 3, 2009 at 12:57 PM