Cher Public

Silenzio! Anna verso noi s’avanza

A first hint of what Anna Netrebko‘s latest Verdi role will sound like.  

Only one aria, to be sure, but La Cieca has heard a lot worse do‘s in her life.

  • Will

    Bless her for not blasting the big top C and for a generally very sensitive reading of the aria.

  • uwsinnyc

    This is really quite lovely. Aside from some muffled diction here and there, it’s very expressively and securely sung. And the high C is superbly controlled too.

    Can’t wait to hear the rest of it. Where is this from? I’m assuming it’s a concert performance?

  • Patrick Mack

    Well that was lovely and she had no trouble with the big line. I wish the recit. had moved a little faster but she might have been setting herself up.

  • PCally

    I’ve no doubt this will be a solid role for her. If she can sing this aria, then she can surely make it through the whole role.

  • Quanto Painy Fakor

    Here it live in Prague next month WITH In questa Reggia.

    • antikitschychick

      OMG :shock: that is going to be epic. She is so ambitious. No current world renown female soprano, or even fictitious, power-hungry characters like Lady Macbeth can hold a candle to her in that respect lol. It’s something she sort of strives to downplay but she’s definitely super driven to fully realize her potential and the great thing is that there’s really nothing in her way. Overall,the program looks great as well. Too bad there won’t be a duet by Antonenko and AN, though the Amneris/Radames duet should be great. Am looking forward to this. Thanks for sharing this info QPF.

    • manou

      QPF -- Hear hear!

  • Quanto Painy Fakor

  • Tamerlano

    That last night was special stuff.

    • Tamerlano


    • antikitschychick

      nice Freudian slip there Tamerlano :-P ;-).

    • messa di voce

      Last night was special for me too.

      Call me.

  • gustave of montreal

    I do not have the Aïda score with me, what did Verdi write on that C ? f ff fff or pppp ppp p ???

    • Camille

      The phrase is marked ‘pp’ at “no,, then a crescendo starts at the beginning of più, with its culmination on the do acuto, and interestingly marked dolce. Then, the succedent phrase is marked senza affrettare.

      The final phrase is, similarly, pp with a crescendo di forza on the first section, and culminating with a pp smorzando, on ti rivedrò.

      The orchestral parts are all marked pp under the do acuto. and the succeeding phrase.

      • I would argue that Netrebko’s reading, which is to sing the rising line from F to B-flat in crescendo (as written, a hairpin) and then to interpret the “dol.” on the top C as a subito pianissimo, is absolutely according to Verdi’s instructions. Obviously, as Camille implies above, that “dolce” leaves a certain amount to the imagination; that is, it’s up to the soprano to decide whether that “sweet” note is the culmination of the crescendo on the previous bar (i.e., sung rather fully) or else whether the “dolce” signals a sudden change in the quality of the tone.

        It’s also nice to think that Netrebko can sing the phrase either way, that is, either with a big crescendo to a full high C or else, as she does, with the interesting sudden pianissimo.

        • Milady DeWinter

          However you slice it, it was a dolce victory over this nefarious aria, and Anna has just stepped to the front of the line of current Aida contenders, imo. I’m not at all surprised, but I am delighted. And as other posters have noted, if she can conquer this aria, she can do full justice to the rest of the role.
          Gloria’all’Egitto per Anna.

  • Quanto Painy Fakor

    Who is that creepy conductor? Carydis?

    • ohbeone

      That Balcony Scene is everything I’ve ever wanted.

    • I liked the Balcony scene when it was just Kaufmann and Netrebko. It became messy once the rest came in. And if that Elena Zhidkova had stopped bobbing up and down like an idiot, she might not have dropped the vocal line and marred the performance. Too bad.

  • Constantine A. Papas

    uwsinny c,

    “O atria mia” was from today’s performance from Munich, which was live on It will available , free, as an encore for one month. It seems that Netrebko has two voices. Her Mimi is still sweet and longing. Apparently Macbeth has not affected her. And her top is simmering and effortless.

  • Constantine A. Papas

    Sorry: “O patria mia.”

  • schweigundtanze

    Wow, that was a superb first outing. I definitely look forward to her in this role.

  • Quanto Painy Fakor

    • Chimene

      And your point in posting this???

  • La Valkyrietta

    Nice. I kept wondering if Gelb would do an opening night blockbuster reggie in Ukraine to make the opera intelligible to modern audiences, and Nilo will appear in the titles as Dniepe :).

    • LT

      In that case, Netrebko should play Amneris.

  • antikitschychick

    Video of O Patria Mia:

    • Tamerlano

      I love her very Russian way of throwing the high C towards the back of the throat (it’s really back and UP). It’s not guttural at all and spins beautifully. Actually, it reminds me very much of Gencer.

  • antikitschychick

    for those who’d rather watch the concert on Youtube:

  • I agree with the general consensus that this is a successful assumption of the aria, with a beautifully floated (and dolce) high C at the climax. And she didn’t take a breath on the final line, which rather surprised me (especially for a live performance). Brava!

    • Chenier631

      This was indeed a beautiful rendition of this aria, and portends well for her if she actually does do the role onstage. The high C was amazing, and her Verdian style is excellent. I know of many experienced Aidas who often flubbed the high C. I have attended many Aida performances that were very well sung by the Aida otherwise, but many times the high C in O Patria Mia was cracked, squawked or yelled. It is hard to forget all those flubbed high C’s.
      If the Met is indeed mounting a new production for her, I just hope they do it up right with a great production and a stellar supporting cast.
      Just my 2 cents………..

  • Donna Anna

    That was beautiful and my god, that high C was exquisitely floated. Given her acting chops, she’d make a formidable Amneris but her Aida will be a force of nature, too. Brava! Thanks for posting.

    • Camille

      As I recall, you have posted it before, right?—she takes the climactic phrase as it was written, which is pretty damn impressive.

      Long ago, I heard about her singing this on her television show in Italy but never ever expected to hear it. What a pleasant surprise.

      Sanford, my favorite thing with La Moffo is, maybe a little surprisingly, the way she sings the part of the Italian Singer in Capriccio. I can never hear anyone else singing that part when I listen to that opera. No one else sings it as well, as charmingly, or as musicianly or ineffably.

    • antikitschychick

      gorgeous; she sounded super fresh-voiced and there’s not a hint of strain or wobble to be heard. Its nice getting to hear this sung by a lighter voice too. Thanks for sharing it Sanford.

  • arepo

    Absolutely spectacular! The one to beat!

    • luvtennis


      Interesting to compare to the Annas! I think this is the best version of the aria ever, but hey that’s just me. The c is more poised in later versions but this is just wonderful.

      • luvtennis

        Does this work?