Cher Public

Screwing the Puccini

Sonya Yoncheva will sing her first-ever staged performances of Mimì in Puccini’s La Bohème at the Met on November 14, 20, 24, 28, December 1 and 5, replacing Kristine Opolais. The Met has released Opolais from her contract so that she may sing the title role in a new production of Puccini’s Manon Lescaut at the Bavarian State Opera in Munich. Opolais will replace Anna Netrebko, who has withdrawn from that production for artistic reasons. In January, Opolais will return to the Met to sing the final three of her originally scheduled performances of Mimì (January 15, 19, and 24).” So says the Met press office.

  • RobNYNY

    An acquaintance kick off mine walked off a Peter Sellars prduction on the first day of rehearsal. He had signed up for six weeks of rehearsal for Cosi. (He was to sing Don Alfonso.) But when he got to the first rehearsal, it tunrned out that first four weeks were to be directed lby an asassistant, with Sellars participating via audio recording. He took the next train home and easily filed the next eight weeks with covers.

    • williams

      Is it at all within the realm of possibility that Macbeth at the Met took a bit more of a toll than we thought on Anna’s voice. Perhaps a rest was in order. Let’s not forget that she bowed out of the Tucker gala towards the end of the run. That role is a killer and she sang it seven times in a less than three weeks.

  • Quanto Painy Fakor

    Maybe Neuenfels wanted to put her in one of his Bayreuth rat costumes. But Netrebko didn’t mind singing “O quante volte” on a tiny bathroom sink in Munich, or looking like a clown as Leonora in Berlin, or swinging from the chandeliers in Macbeth and singing in all sorts of odd positions that she made work in other operas. She’s always been game for new things, except perhaps accepting challenge of all of the Hoffmann heroines. So I suspect there’s something deeper here. After singing her spectacular excerpts from Macbeth and Manon Lescault in Munich and Berlin last month, I’m hoping that she’s decided not to present herself in productions that will detract from this new phase of her artistry. If so -- brava.

    • Mattila pretty famously complained about the Neuenfels production of Così which had her walking two men on a leash. But anything we say at this point is speculation.

      Other people have alluded to Neuenfels being difficult personally, but no one has shared any examples. Come on, people. :)

    • antikitschychick

      That was a fabulous performance by Mrs. AN. Manon Lescaut is a good role for her and it is unfortunate for those that were looking forward to seeing her in it and with Jonas Kaufmann as DG to boot. I don’t want to speculate about the reasons for her withdrawal because we really just don’t know what went down at this point. Hopefully she’ll bring the house down in some other role or maybe even the same role in the not too distant future ;-).

      • Agreed, antikitschychick, it was marvelous — for me, she has the effect of removing all residue of cynicism and jadedness, and tapping into the sheer joy of art. The reason her cancellations attract so much attention is because she is so unique and irreplaceable, with all due respect to the talents of anyone who has to step in for her. I realize not everyone feels that way about her, but they are a dwindling number, and there’s no accounting for taste.

        • antikitschychick

          Yes Dabrowski, completely agree that when it comes to performance standards and serving the roles she very carefully chooses she’s in a league of her own. In fact my one and only reservation about her at this point is that I think she’s now singing with slightly less pathos and emotion than she used to. I think she’s an expert at creating the illusion that she’s feeling all these emotions and the voice itself has a very beautiful quality and she achieves all that is possible with it, given that she’s essentially a full lyric, but I still sense a slight detachment if you will, whereas with Callas and a few others I hear this throbbing pain in the voice that just overwhelms, although I recognize that this a stylistic choice that doesn’t always lead to healthy vocal production…and don’t get me wrong, she is definitely a passionate and committed singer but I’m not as moved by her singing as I am with that of others, which I know is completely subjective to my taste. OTOH, her voice has gained such amplitude and the technical aspect of her singing has improved so much that you might question whether that even matters…and as far as acting and charisma she is def the Queen B :-).

          • Quanto Painy Fakor

            She also has a new tenor hubby to promote.

            • Ouf

              Who is now slimmer than she is.

              He was born in Algiers (according to his new agent, CSAM) yet manages to be Azerbaijani. Someone should read a map.

            • armerjacquino

              It’s almost as if birthplace and nationality weren’t the same thing.

            • I hereby demand the long-form birth certificate.

    • A few months ago Jungfer Marianne posted a performance of ML from Rome with Nebs and Evyazov, Muti conducting. She was sensational.

      I wasn’t under the impression they are married -- when did that happen?

      • Quanto Painy Fakor

    • olliedawg

      I can’t comment on Anna N’s political bedfellows, but I really love her willingness to throw herself entirely into the emotion of the music without compromising vocal beauty. There are precious few singers who can let themselves go, pull you into their world, and shake you up. I’d love to see this amazing singer live. She must blow the roof off the joint.

      • messa di voce

        She doesn’t blow the roof off, but her voice projects into and fills Sybil’s Barn in a way that is a unique aesthetic experience in these days.

  • Quanto Painy Fakor

    I wonder if Putin will require all Russian citizens to stop using Apple products.
    http://www.nbcnews.com/news/world/russia-takes-down-steve-jobs-memorial-after-apples-tim-cook-n239956

  • The Conte

    I can’t comment on whether this cancellation is justified on AN’s part without knowing the details. However, it is a shame that she cancels fairly regularly. I imagine her most devoted fans will forgive her, but she will be annoying those who have more reserved admiration for her.

    • Does she cancel “fairly regularly” or is it just that it makes the news when she does? It certainly seems that she cancels more often in Europe than in the US.

      • Guestoria Unpopularenka

        She sings way more often in Europe thus a higher chance to cancel there.

        • Satisfied

          Her track record in New York is quite good. I’ve seen her well over a dozen times and the only cancellation I was subject to was her Carnegie Hall recital a few years ago. And even then, she cancelled well in advance of the performance date.

          I could be wrong, but this and the Faust cancellations are the only high profile exits of Anna’s that I’ve seen in recent years.

  • antikitschychick

    Also, I so wish I could go see one of these Bohemes with SY! Ugh. Oh well. Hopefully I’ll be able to catch her in Traviata in Jan. Although it does seem like she’ll be singing alot at the Met so I think I’ll definitely be able to catch her in something :-D.

  • Quanto Painy Fakor


  • Quanto Painy Fakor



    • MontyNostry

      Well, she can trill.

  • Quanto Painy Fakor

  • Constantine A. Papas

    If Netrebko walks away from a contract of several hundred thousand dollars for her own artistic values and integrity, whatever they may be, she’s nobody whore!

  • Feldmarschallin
    • umangialaio

      In jedem Fall werden Sie keine Enttaeuschung in Rom in Februar erhalten, weil Staedte nicht absagen koennen!

      U

      • Feldmarschallin

        Genau und Rom ist immer eine Reise wert ganz abgesehen ob ich in die Oper geh oder nicht. Einmal war ich dort und geh durch die Stadt und seh ein Plakat über einen Liederabend von der Horne. Sofort Karte gekauft und bin am nächsten Abend hingegangen.

        • Ouf

          I was just watching the clip from Moscow and thinking perhaps, just perhaps, the sound is now a little too throaty to be ideal, even compared with the Rome broadcast eight months ago. I don’t know what to make of him. Also, the comments about Opolais in London seem all positive. So perhaps, just perhaps, we will be fine with the run here. We have tix for one more perf than you, missing only the 19th. I assume JK will give the middle date to Eyvazov, so selling two of our seats for that (ouf at posteo dot de) on the forum. The Nabuccos are tightly sold out too. Not sure why.

    • Cicciabella

      Holy Moly! Is that a recent photo of Kaufmann? He’s looking very scrawny, especially next to Netrebko, who is the picture of radiant health. My gran would feed him a square meal pronto.

    • I have very little German; is this article saying that this would have been the first time Netrebko and Kaufmann appeared together in an operatic performance? That isn’t true; I have a bootleg recording of a performance of the two of them together in La Traviata in London in 2008 (?) or so.

      • FragendeFrau82

        That’s not the only error--he also states they did one outdoor concert together--in Berlin. They sang that outdoor concert in Munich and Vienna. I’m curious to know how we are sure that AN’s fiance is the official cover, that he will stay, and that JK will “give” him a performance. JK didn’t “give” his cover at the ROH a performance this summer. I can see, if AN were still in it, as a collegial thing…maybe… but…

        • manou

          Kaufmann, Netrebko and Schrott toured this concert in 2012 I think -- except that by the time they arrived at the Royal Albert Hall Kaufmann had been transmogrified into Vargas.

          Here is the Berlin concert:

          • FragendeFrau82

            Manou, the video is from the series of 3 open-air concerts in 2011. The second series in 2012 is the one where JK was out sick for the Royal Albert Hall. In short, JK and AN have sung more than once in large concerts!

            • manou

              Thank you for the correction Frafra. Furthermore, I have seen them both together in Traviata at Covent Garden as Dabrowski mentions.

    • manou

      Hans New Rock” is my new favourite Google translation.

      • Cicciabella

        Hans Neuenfels: still rockin’ ‘n rollin’.

  • vonessek

    AN’s not known for avoiding modern productions. If she couldn’t come to terms with production or director, she had the right to cancel. Some commentators here think that commercial (trivial) considerations are above the artistic ones. The argument goes that people paid for the tickets and a singer is obliged to be a dancing monkey and perform, whether he/she finds it meaningful or not? This is exactly the difference between popular music and opera: in the latter, some artistic standards must be maintained, otherwise, call Kathy Jenkins, she’ll sell more tickets.

  • Cicciabella

    According to the Frankfurter Allgemeine, sets and props are minimal and the direction concentrates on the interaction between Manon and her Chevalier and how they are seen/observed by others. Netrebko didn’t like this concept, but did not fall out with Neuenfels. I’m on iThing and can’t post a working link to the article.

    • Was genau zu den „unterschiedlichen Auffassungen“ zwischen Netrebko und Neuenfels geführt hat, ist unklar. Die Bayerische Staatsoper teilte zum geplanten Regiekonzept lediglich mit, die „Expressivität der Geschichte“ solle „mithilfe eines reduzierten Bühnenbildes vor allem im Zusammenspiel der beiden Hauptfiguren zum Ausdruck kommen.“ Dabei spielten „das Beobachtet-Sein der beiden Liebenden von außen und die Blicke und Anforderungen der Gesellschaft“ eine wesentliche Rolle in der Charakterisierung der Hauptfiguren.

      http://www.faz.net/aktuell/feuilleton/buehne-und-konzert/anna-netrebkos-rueckzug-keine-beobachtung-der-liebenden-13247242.html

  • Quanto Painy Fakor


    To sing or not to sing: Ernani looms on the horizon

  • Feldmarschallin

    Well I made a few inquiries yesterday before the opera with people who work in the house and got some information on the Manon Lescaut. Apparently it wasn’t that the production was too modern but that she didn’t like the Konzept and that was the reason althought some thought there might have been more to it on her part and it seemed she just wasn’t in the right mood and perhaps wanted some time off. But the consensus was that the Staatsoper is furious and the wording in the press release was being very polite. Her future signed contracts will be respected but from what I gathered the Staatsoper will be very, very careful about her in the future. It was said that she knew it would be Neuenfels and that his Konzept was not altered from the start and she the details and therefore there is not much understanding for her to leave the opera in a very bad position less than two weeks before the Premiere. Apparently also she was trying to get her partner some performances and that did not go over well either and perhaps put her in a not very good mood. Also from long time patrons there was the feeling that Neuenfels would be getting massively booed by disgruntled Netrebko fans regardless of the production. I wish Opolais all the best and the majority of people who saw her in London liked her so maybe Puccini is her metier. Her horrible Vittelia here was the last thing she sang so people are rather disappointed in the casting but all said lets see how she does. Maybe the many performances of the Lady at the Met made her tired and that her nerves were not the best.

    • Quanto Painy Fakor

      Promoting the partner is not an easy sell. It didn’t work well for Bernabé Marti either.

      • Feldmarschallin

        Yes and Damrau tried it with Ivan Paley and it didn’t really work except for those joint Liederabende. But at least she figured him out and after she found out about his cheating got rid of him. With Testé she has gotten him in the door but in smaller roles mostly. He is doing Boheme here during her Lucias and they are both singing or still rehearsing Perlenfischer in Wien at the moment. But of course a tenor is much more exposed. Denoke and Kuebler also managed it but they sang a different rep and he never sang the big tenor roles but the smaller ones.

        • MontyNostry

          Dessay and Naouri seemed to work.

          • Feldmarschallin

            Yes and some work and some don’t. Siurina and Castronovo also work. Netrebko and Beczala would work and so would Harteros and Kaufmann, Damrau and Florez or Gheorghiu and Calleja. But look at Seiffert and Schnitzer. Do you really think half the houses would have hired her if they weren’t in desperate need of a Wagner tenor. Varady and FiDi also worked. Freni and Ghiarouv also worked.

          • Quanto Painy Fakor

            I don’t think Naouri is worth a grain of sand.

        • Hippolyte

          “Denoke and Kuebler also managed it but they sang a different rep and he never sang the big tenor roles but the smaller ones.”

          Clearly FM doesn’t know what he’s talking about on this topic. Kuebler is somwehat older than Denoke and in fact made his Met debut as Tamino (which I always thought was a big tenor role) when she was still 19. Over the 23 years he sang at the Met, he also did Matteo, Jenik, Flamand (in the Met premiere of Capriccio), Alwa and Eisenstein among others. Elsewhere he sang roles like Henri in Vepres in Rome, Steva in Jenufa (with Mattila and Behrens in Salzburg), Ferrando in DC (with Varady and Barenboim), etc.

          • Feldmarschallin

            Yes and how long have they been together? Was he still singing Tamino in the big houses after they were a pair? When they were together they were content to him singing smaller roles so they could be together since she was at the height of her career. So why do I have no idea about what I am talking about? Yes Matteo, Jenik, Flamand and Alwa are the big tenor roles which every tenor is dying to sing. Was Denoke about 5 when he sang Cosi with Varady which was years and years ago.

            • armerjacquino

              You said ‘never’. Never is an absolute. Now you’re qualifying it after the fact.

            • Feldmarschallin

              Well perhaps the big tenor roles for me are roles like Tristan, Parsifal, Manrico, Alvaro, Tannhäuser, Calaf, Hermann, Rhadames….Matteo, Alwa and Steva and Flamand are in a different category.

            • armerjacquino

              Kuebler isn’t a dramatic tenor though, is he? Might as well say that Damrau doesn’t play big roles because she hasn’t done Isolde or Turandot. Tamino, Henri, Steva etc are big leading roles however much you may want to pretend they’re not.

            • Feldmarschallin

              I guess one needs to spell everything out here very clearly. You can be a big star as a coloratura singing roles like Lucia, Zerbinetta, Elvira and the like but you cannot be a big star singing roles like Steva and Flamand. Let us say if there is an opera recorded and either your picture or your name is either the first or second mentioned then chances are you are a big star and the role is big. There is nothing wrong with singing smaller roles and many singers started their careers like that. Also another clue is the curtain calls. If you get the last one or second to last one your role is the leading role(s). Now Lucia gets the last bow but Alwa or Stewa or Flamand do not. Also houses generally ask the stars like Damrau in this example what roles she would like to sing in and then do a production around her. Do you really think they asked Kuebler he can pick out a production and he picked Alwa or Stewa?

            • Feldmarschallin

              Florez is a big star and isn’t a dramatic tenor either but was and probably still is the first choice in the world for many roles in his fach. Now Brownlee and Camerena have also gotten to the front of the line but for a while it was Florez alone.

            • MontyNostry

              Talking of bel canto tenors, Michael Spyres hit a stunning top E (he himself reported on Twitter that it was an E) at the concert performance of Les Martyrs in London last night. A very exciting evening -- and Joyce El Khoury certainly commanded the role of Pauline most impressively.

    • gal

      “People who work in the house”… do you mean chorists or executives, staff who would freely speak about what happened ?
      Did they know personnaly the situation, the staging, both ? or did they give you their own thoughts about the mood or different elements without having all the facts ?

      Didn’t they think that the reason for her not being in the right mood was maybe the production “Konzept” itself ?

      Nothing of rumors in that so… we’re at the same point.

      And speaking about rumors I’m of course sure she really thought she was able to ask a Kaufmann to cancel some performances in Munich just for her fiancé to step in or that she thought she could ask that to the Staatsoper too, so I’m sure she really tried to. This is indeed very plausible and not a naughty rumor intended to make her some wrong.

      For the way she keeps silence now, maybe she can’t deeply explain why she left without having bad words and maybe she doesn’t want that kind of communication ; that could explain why all we have is the statement about different artistic perspectives.

      I would say that for now we must wait until the premiere in order to maybe begin to understand what was so difficult for her to agree with from an artistic point of view.

      From my point of view, as disappointing as it can be for audience, how can a singer hope to be 100% ok vocally if he feels bad and uncomfortable in a staging ?
      Whatever the reason is and even if we can’t see or undestand the problem, if it exists for the singer, bad critics, poor performance will ensue (and the audience won’t be pleased neither -- maybe not as much as for a cancellation, but still)and moreover his image will be associated with the mess on stage.
      There is no good choice in this situation between cancelling or performing.
      And don’t talk me about being professional and having the ability to stand everything. Singers are humans and not robots. They have sensibility, feelings and sense of ridiculous or dignity.
      I would add that singers are not the director’s thing and that they can’t be asked to do everything.

      To finish, speaking about figures as it was mentionned in another topic, I very much doubt that she happily decided to not sing an opera she loves, to disappoint the audience, especially in Munich (being one of the most important opera scene)and to give up at the same time the huge fees she would have gain.
      I would on the contrary bet that she is very saddened by the situation. But nobody cares.

      • Feldmarschallin

        I asked different people from different positions and it was not a cleaning lady or extra either. Yes you are right we still don’t know details but there are probably very few outside of Bachler, Netrebko, Petrenko, Neuenfels and a few others who know the whole story. And since I did not talk to one of those mentioned you can just accept it for what it is. I never said I knew the whole story but tried to say what I had heard from asking different people working in different positions in the house. I am sorry now that I posted anything about this.

      • Lohengrin

        Indeed she is “very silent”. Everyone is used to find her whole life on her facebook, but nothing about cancelling ML!!
        Wish her a nice time without München, Puccini, Kaufmann and Neuenfels.

      • mirywi

        Gal: you really ought to get a tv show where you can show off your power of mind reading. Can you contact the dead too?

      • Feldmarschallin

        ‘And speaking about rumors I’m of course sure she really thought she was able to ask a Kaufmann to cancel some performances in Munich just for her fiancé to step in or that she thought she could ask that to the Staatsoper too, so I’m sure she really tried to. This is indeed very plausible and not a naughty rumor intended to make her some wrong.’

        Well maybe not ask Kaufmann to cancel but since he was sick for a long time and has not sung in over 6 weeks and since her partner was the cover and don’t think that is so farfetched to try and persuade the management to maybe give him a performance if possible. And depending how much persuading she did it might come across as pushy and too much. I mean if I was the star soprano and had a new lover I might try the same thing only it is a very tricky game and you cannot be to blunt about it. And I don’t know if being subtle is her strenght. Maybe it was a string of things. She came from NY tired, she and Neuenfels weren’t the best of friends, Kaufmann was sick and her partner was rehearsing and she saw a possibilty. Maybe Neuenfels said something like he was expecting her earlier for rehearsals and they had a lot of work to do now. These are all of course maybes and I know nothing for a fact. But it wasn’t one thing that Neuenfels insisted on her doing and she was adament about not doing it. That is certain. I think Neuenfels is much too savvy not to give in a bit and Bachler certainly is. Neuenfels also worked with Julia Varady who was not exactly known for her progessive take on opera but they managed to do the Forza in Berlin to great acclaim. He is the big loser in this plus the public who paid for and stood in line overnight for performances. He is the boo man now no matter how great the production might turn out to be. Sad that it turned out like this since everyone was hoping for a great run and people were really looking forward to this. The Staatsoper is also a house that cherishes loyalty from the side of the management and also the public. If a singer chooses this house over others and makes this house their base both the management and public know the value of this. Singers like Varady were given new productions every season and she had the pick of roles for repetory before others got asked. Opolais will have the management very on her side for future assignments possibly some of which might have gone to Netrebko. Netrebko of course doesn’t need the Staatsoper since she can write her own ticket.

        • Quanto Painy Fakor

          She did not go to Munich from NY, she went to Munich from Moscow. And leaving the BF means more time away from him.

          • gal

            Indeed. That’s why it makes so little sense to think she quit because she wanted to sing with him, having now zero chance that it happens. On the contrary it means that he’s now left behind. That is in fact another thing that makes me think she had her good reasons to leave (even if it’s not good reason for us).
            But it’s only my guess and I’m not pretending to read the souls.
            It’s just thinking about a situation.

          • gal

            In fact she went from NY to Munich where she had news from the rehearsals (was not that pleased) and attended the Echo Klassik awards (in Munich!), went to Moscow and went back to Munich were things went worse.

            • Quanto Painy Fakor

              Yes, and both of those high profile events in Munich and Moscow have been seen in video on Parterre. BF was with her in Moscow. Takes guts to give up more than 200K for ML.

            • Quanto Painy Fakor

              Maybe being away from her son at this time has something to do with it. He has some learning disability so his life in NYC is probably very important to his mom. Now she has more time to relax and prepare new repertoire and projects to more than cover the lost fee from Munich. It’s non of our business.

            • Cicciabella

              Rolando warned her not to do it during the Echo Klassik gala. He was signalling Morse code all evening with his eyebrows.

        • Billys Butt

          Why is Neuenfels the big loser in this? Opolais is clearly the better actress, and that’s what he wants and needs! Of course he will get booed at his curtain call, but he has been getting booed at his opera premieres ever since his first “Trovatore” and “Macbeth” at Frankfurt Opera in the 1970s. He’s used to it. He probably would be shocked if it were different this time. Of course it’s only too easy to join the camp of Neuenfels haters who scream “What’s Nabucco got to do with bees??? That’s terrible!!! Verdi didn’t say anything about bees!!!” or “Why are there rats in Lohengrin??? That’s outrageous!!! Wagner didn’t say anything about rats!!!”, but if those people would just take a moment to think about WHY Neuenfels used these metaphors and what he was trying to say with it (that is, if these people had the capacity or the willingness to think in the first place; many of them, it seems, just don’t), then, I dare say, there wouldn’t be any boos. Neuenfels is a very analytical director who comes very well prepared and knows the pieces he directs inside out. His Verdi interpretations in Berlin – “Rigoletto”, “La forza del destino”, “Il trovatore”, “Nabucco” – but also his takes on Wagner (aside from the Bayreuth “Lohengrin” that most people here seem to have seen also “Meistersinger” and “Tannhäuser”) and Mozart were exceptionally interesting, insightful, multi-layered readings. However, as with every Neuenfels staging, the better you know the piece, the libretto, the score, and (very important with Neuenfels:) the composer’s historical, political and social background and the context of the creation of that particular opera, the more you get from the staging. But sadly, because many people don’t like to think or lack the knowledge or believe every opera production should look like Zeffirelli or Otto Schenk or simply love to get rid of some pent-up aggression, there will be lots of people booing Neuenfels and his “Manon Lescaut”. Even though there won’t be any bees or rats. ;)

          • Feldmarschallin

            Because there were many Netrebko fans who paid a lot of money for tickets and even travel expenses and those will be very upset. Tickets were extremely difficult to come by and for every single performance one had to stand in line for about 12 hours nonstop and since only two tickets were being sold per person you could only stand with one other person. One had to do the first half and the second the second half. In the middle of the night was the change. I did this 4 times and we got lucky once online. All this would not have been done for Opolais where you couldnt give away tickets for her Vittelia. Not only isn’t she a star here but she isn’t even liked. Pieczonka for example isn’t a star here but people like her. Well maybe not rats or bees but perhaps ducks? LOL.

            • manou

              There are rumours that New Rock wanted to do a Manon Lescow, by Anna would not go along with the udders.

          • Cicciabella

            I predict lots of busy bunnies in this Manon Lescaut, of the playful kind, and whose natural habitat is a mansion.

          • luvtennis

            Hey, please don’t think for me. Please. It is possible to get a Konzept, understand the motivation of the director and STILL not like the result.

            Maybe, I don’t want some director’s detailed explication of what he believes the work to be about.

            Does that make me a bad person?

            Seems to me that opera was limping along pretty well before interventionist productions….

            And what exactly would the opera world do if Kaufmann and Netrebko said NO MAS to Neuenfels rats.

            In fact, I want to place a bet. No more regie for Kaufmann and Nebsy from here on out. If I lose, I will admit that I am stupid, hidebound jerk, with antediluvian notions of art.

            • Why should Kaufmann and Netrebko fight your reactionary battles for you?

        • Guestoria Unpopularenka

          Whether is asked Kaufmann or went directly to management to try to get him not to sing some shows is a very shitty move. Especially the latter.

          So, if Kaufmann agreed, would shecover the fees he’d lose? And if she went directly to management, then this is textbook backstabbing.

          • Guestoria Unpopularenka

            Whether she* asked…

          • This is some mighty impressive speculation right here.

          • We have no idea whether this happened. And until one of the parties opens up (Bachler, Neuenfels, Netrebko, Kaufmann) we won’t know. As for why Netrebko is speaking up it could be she’s under a NDA that was worked out as a pre-condition of her leaving the production.

      • Quanto Painy Fakor

        And she’s loosing part of her views of NYC because of construction the people there were not expecting when the building was built!

        • Guestoria Unpopularenka

          She should get together with Guleghina to mourn their lost views. But that’s Manhattan for you.

    • Ouf

      “Apparently also she was trying to get her partner some performances and that did not go over well either and perhaps put her in a not very good mood.”

      There’s the rub!

    • Fluffy-net

      Thank you, Feldmarschallin. I was hoping someone would do just what you did and report.

      Maybe her success in New York went to her head and everything became “my way or the highway.”

      I am sure it’s happened before in the last 400 years of opera.

  • Lohengrin

    Thank You so much Feldmarschallin!
    KO quits Vitellia, she is an intelligent women.

  • Quanto Painy Fakor

    • Quanto Painy Fakor

  • Ouf

    Kristine Opolais wird, wie schon in der Premierenserie ab 15. November 2014, die Titelpartie von Puccinis Manon Lescaut in den Vorstellungen während der Münchner Opernfestspiele (28. und 31. Juli 2015) anstelle von Anna Netrebko singen.

    Anna Netrebko wird, ebenfalls während der Münchner Opernfestspiele, ihr Münchner Rollendebüt als Tatjana in Tschaikowskys Eugen Onegin geben und übernimmt somit diese Partie von Kristine Opolais. Termine: 26. und 29. Juli 2015.

    • Lohengrin

      Vorsicht, “moderne” Inszenierung von Eugen Onegin!!