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Anna macchia è qui tuttora

It’s confirmed! A spokesperson for Anna Netrebko has just informed La Cieca that “Anna is scheduled to do Lady Macbeth in Munich in a future season.” Working without the spokesperson’s guidance, your doyenne is guessing that this new role will debut circa 2016-17, around the time of her first Norma.


  • armerjacquino says:

    And the prophecies of doom begin in three…two…

  • bang_bang_bang says:

    I hardly see her as Lady Macbeth. She should sing more verismo. Norma and Lady Macbeth are way too difficult for her.

  • MontyNostry says:

    Don’t worry, if Anna decides to pull out, the world’s most consummate interpreter of the role, Nadir Michael, will be there to step in. (With any luck, she won’t have any frontline engagements of her own by 2016-17. And hopefully no voice left either.)

    • calaf47 says:

      …and I’m sure Marina Poplovskaya is buying those scores now as we speak.

    • phoenix says:

      Who is the consummate Lady Macbeth these days?
      - Does everyone around here swear allegiance to Verdi’s famous quote that Lady Macbeth should have an ugly voice? I guess I am in the minority again because I don’t agree with Verdi -- still, I wonder if Verdi would have put up with the over-the-top dramatic cliches & low quality fioratura technique of so many of the present-day Lady Macbeths. The only Lady Macbeth I have liked over the last few years was Liudmyla Monastyrska at Covent Garden.
      - Last weekend they broadcast two different performances of the opera, one with Iano Tamar from l’Opéra de Lyon and the other with Jennifer Larmore from Grand Théâtre de Genève. Although I realize they are quite from each other, I couldn’t really tell you which one of those two ladies was worse (or better) than the other -- I only know that I don’t want to hear either of them sing that role again.

  • Quanto Painy Fakor says:

    Oh goody, two good operas for Erwin too ! And by 2016 there will no longer be any coaches on the earth familiar with the requirements for Lady and Norma. The wonderful photo manipulations from La Cieca have made my day waiting for a recording of La Nave to surface.

  • Lady Abbado says:

    I for one do not like her rendition of Casta Diva and I think there are at least a couple of contemporary sopranos who would do a better Norma.

    In any case, here are two comparative videos, one with Netrebko vs. Gheorghiu, the second Netrebko vs. Callas:



    • phoenix says:

      Sleepwalking scene: better to listen to than to watch -- I never saw this video before, I only heard a broadcast with her -- still, at least she is in her prime and still has her voice intact.

  • La Valkyrietta says:

    Oh dear! But this is a time to cheer for Chelsea !!! Lights are back!!!

  • mia apulia says:

    These roles are a little light for Netrebko at this stage of her career, no? and she’s really not good at projecting the kind of innocence required, right? besides there’s that trill….

  • thenoctambulist says:

    Here’s a good Lady Macbeth who has both the power and the agility for the path:

    By the way, many mezzos sing Macbeth but why won’t they attempt Bolena which has similar low tessitura throughout as well? Why won’t singers Larmore and Urmana take up that part? Urmana at least would be light years ahead of the disaster that was Radvanovsky
    ( when she’s going to repeat that disaster at the Met).

    • grimoaldo says:

      “the disaster that was Radvanovsky
      ( when she’s going to repeat that disaster at the Met).”

      Saw it twice, she was spellbinding, fabulous, audience went into raptures, we need more such disasters.

    • Bianca Castafiore says:

      Maybe because both Urmana and Sondra are bland, boring performers?

      Which disaster do you refer to? Sondra sang the Lady at the Met last year?

      • armerjacquino says:

        He’s talking about BOLENA.

        • Bianca Castafiore says:

          Sondra sang Bolena? I guess I missed that… I thought it was only Netrebko and Meade at the Met recently.

          • armerjacquino says:

            She sang it in Washington, which are the performances that grim is referring to. I guess from thenoctambulist’s post that she’s scheduled to do it at the Met sometime.

  • Feldmarschallin says:

    In the SZ it said Festspiele 2014 so much sooner.

  • Lucia Lammermoor says:

    Thank you for sharing these surprising and unbelievable news! Netrebko as Lady?

    I absolutely agree with some comments that Lady does not necessarily need to have an ugly voice. Lady Macbeth, however, needs “cojones” and Anna does not have that! She has a light splendid voice which she fills with hard throatiness as soon as she forces (remember Bolena?). She could sing the sleepwalking scene beautifully, but IMHO without drama and without goosebumps. Opera is not about (just) beautiful voices, its about emotions, force, being blown away by huge voices, drama and of coruse acting. Manastyrska, yes … (if she works more on her phrasing, her italian and her acting), even Urmana, but not Anna! The best Lady so far is Guleghina. She has it all, the “blow-me-off-my-feet” voice , the “cojones”, the beauty, everything. so, let us truly hope that not only Anna, but also the theatres come to their senses and invite Guleghina.

  • kashania says:

    I don’t think Netrebko is going to ruin her voice singing Lady M. or anything and I think her voice is big enough. And she has the coloratura skill required. But, as it stands, her voice doesn’t have that edge and thrust that one would want in the role. Mind you, 4-5 years’ time, her voice could be ready (it has developed a lot in the last several years). I’m more interested in her Norma. If she has the stamina for it, she could be quite good in the part, especially the second act.

    • poisonivy says:

      I agree. I’m still salivating at the idea of a Netrebko Rusalka.

    • kennedet says:

      I agree kashania. Personally, I think it’s the best move for Netrebko. I always thought the voice was too dark for the “ina” roles and Donizetti.

      My biggest concern is what will happen to the true lyric coloraturas that we enjoyed in the past?? Are we going to discard the Blegens,Galli-Curci,Sayao,Pons,Peters, Sills timbre??? Yes, I know they are from the old school but the colorturas of today have a much darker timbre than the past (Let’s not discuss bel canto and the great Maria Callas at this time).There are still sopranos who have this light quality and they are being told that their voices are too small for today’s orchestras. Dessay comes close but her vocal problems almost exclusively erase her from the competition. IMHO, I think Diana Damrau quality is too dark to be considered a true coloratura. I know she has the range but classification is not determined by range alone, as you well know. Should the tastes of today totally obliterate a voice classification??? Inquiring minds want to know. I own an early CD recording of Kathleen Battle singing colortura arias and the orchestration and vocal quality seem perfect for the music.

      • MontyNostry says:

        I’m just listening to Giulio Cesare from English National Opera and I was thinking that Anny Christy sounds like an old-fashioned coloratura, though it’s not a particularly pretty sound. It’s Olympia as Cleopatra … As I’ve said on here before, I think that Gruberova was partly responsible for the change in fashion on what a coloratura should sound like -- she always had a harshness and glassiness that seems to have become perceived as desirable (and is definitely part of Damrau’s vocal personality). A nice coloratura I heard last year is Brenda Rae. It’s not a doll-like sound, though, and she is taking on Traviata at Santa Fe soon.

      • The_Kid says:

        yep, i definitely second that. the old-fashioned coloratura line is no longer well-represented in the major houses. did the Met ever revive Lakme after the heyday of Lily Pons, for example?

      • oedipe says:

        All is not lost, there is still a future and there are reasons for hope: I am very much looking forward to next season’s Lakmé at the Opéra Comique, with the up-and-coming coloratura soprano Sabine Devieilhe in the title role. (She is singing the role as we speak at the Opéra de Montpellier.)

  • Casting Netrebko as Lady M is akin to casting somebody like Francesca Annis in the Shakespeare play.

    Ah, wait, it has already been done.

    • Clita del Toro says:

      CF, you don’t get it. I really does not matter what role Trebs sings or how she sings, it will always be the a huge hit.

    • MontyNostry says:

      Will the pulpeuse Anna sleepwalk naked, though? (She’ll over 45 be the time the show happens.)