Cher Public

“One of the most easiest pieces for me to record”

Turandot-NetrebkoLet’s try this again. Here’s a tease of Anna Netrebko‘s “In questa reggia,” this one totally legitimate and provided by DGG. 

  • Ooh! My first attempt with the fancy schmantzy Disqus platform! I’m sorry I haven’t got a good avatar yet, either. Well, actually I have some choices, but the Disques site isn;t very revelatory on how to plop one into your profile. Imean, I went there and put in a cut and paste of a fleur de lys, but it didn’t take.
    But anyway, I do love the idea of Anna as Turandot -- I just hope she doesn’t waster too much time and effort on it.

    • DonCarloFanatic

      Go to your profile. Browse for the image on your computer. Save/submit/whatever. That will upload the image.

  • DerLeiermann

    That guy improves really fast. I’m pleaseantly surprised.

    • Wow, I agree -- they both sound great in that little niblet. No doubt, this music agrees with her, with that great big top to bottom seemingly single register of hers -- remarkable. Plus added value of steady, shrill-free sound on high -- not a gift that even some of the greats have necessarily owned.

  • QuantoPainyFakor
    • QuantoPainyFakor

      How does the new system work with embedding videos?
      I also changed the s to v and it did not work

      • La Cieca

        Right -- just copy the URL from YouTube and paste into the comment box -- Disqus will do the rest

    • QuantoPainyFakor

      Sorry, it does work without changing the s to v, but the embedding does not appear immediately.

  • Luvtennis

    She sounds very comfortable with the demands of the music. I am looking forward to hearing her surmount the challenges posed by the rest of the aria. It’s hard to believe she once sang Susanna!

    • The journey her voice has taken is absolutely remarkable. The voice has lots of amplitude now but she has retained her top and her Cs sound fabulous. She could be a truly great Turandot.

  • It may be just AN’s idea of realism.

  • UpB7

    I know that opera singers with dramatic voices usually transition or settle into their dramatic voices (with dramatic rep as opposed to lyric rep) in their late 30’s or in their early 40’s, and I know that Anna Netrebko is now in her mid-40’s. However even with her singing Norma and preparing other roles and arias, does any of you think that she is really a dramatic soprano now? (As opposed to a lyric soprano whose lyric voice has grown even more?) While there are opera singers who transition from lyric to dramatic in middle age or just before middle age, there are also opera singers whose voices simply grow bigger (maybe with a slight change in timbre as well) yet remain lyric voices -- albeit larger lyric voices.

    I hope that Anna Netrebko isn’t making a mistake; though, I wonder if she is. I don’t want her to be motivated by wanting to be a big bad mama grande super diva at the risk of damaging her instrument. (One example that comes to mind is Malfitano. She wasn’t satisfied with her own good lyric singing voice -- a full lyric voice that excelled in both lyric soprano roles and a number of coloratura soprano roles. [Not all lyric sopranos can say the same about themselves.]. Instead of branching out into other lyric roles -- after succeeding as Servilia, Juliette, Olympia (and the other Hoffmann heroines), Lulu, Konstanze, she jumped into spinto roles briefly and then plunged into dramatic roles -- Tosca, Salome, Katerina Ismailova Beethoven’s Leonore, and Lady Macbeth, and by the time she was in her mid-50’s, her voice was shot and her singing career went down the tubes shortly afterwards. This is a fate that I do not want Netrebko to set herself up for.)

    • Yige Li

      I suggest that you should understand the difference between “she thinks she can sing Turandot because she thinks herself a dramatic soprano” and “she thinks she can sing Turandot because she thinks a dramatic soprano is not necessary for Turandot”.

      • UpB7

        That is another matter. Now that is better. I would rather that this be the case. It is preferable and wiser than the thought of Netrebko planning to sing Minnie, the Brunnhildes, Isolde, Elektra, and/or Abigaille. Hopefully this is only a case of Netrebko thinking that she can sing this role of Turandot and not that she thinks that she is dramatic. Regarding the thought of her being dramatic as opposed to being simply a very big full lyric, I am not convinced.

      • LittleMasterMiles

        Where does AN say she thinks she can sing Turandot? She only says that “In questa reggia” was easy to record. That’s hardly the same thing as singing the whole role, much less performing it onstage rather than in a studio. Don’t bonbon records like this one often include repertoire a singer hasn’t, couldn’t, and shouldn’t perform for real?

        • Bill

          Turandot really is not a very long role, it just sits high at times and as in much of
          Puccini the soprano vocal line is a bit similar
          to the line of the Violins so sopranos in
          Puccini occasionally have to sing just a little
          louder so the voices rise over the orchestration. We all were used to
          Nilsson who had a large somewhat steely sound which cut through the orchestration
          but we must remember, though in smaller
          houses than the Met, singers such as Cebotari, Maria Nemeth, Lotte Lehmann
          had success as Turandot and they were not dramatic sopranos (Cebotari was singing
          Susanna at the same time) -- Netrebko should certainly be able to sing Turandot without forcing -- she has the notes . I am not sure WHY she would want to do it (unless together with her husband) for there are many other roles which could display her dramatic instincts on stage more fully
          such as Lisa in Pique Dame for which she
          is, at this stage, vocally suitable. She is, however, in the enviable stage of her career and fame that she can pick her roles and most major opera houses, anxious to have her on their stages, would book her for any of the roles she chooses to sing. I rather doubt Netrebko will bother with stage
          performances of Turandot what with Tosca, Adriana, Aida and who knows what else coming up.

        • Sanford Schimel

          Look at Moffo. On her Verdi Arias album, she recorded O, Patria Mia. It’s gorgeous but no one would expect her to do the role on stage. And Sill made that famous lost recording of Verdi Arias, recorded while she was quite ill to the point she forgot she made it, and it also included arias from roles she wouldn’t have done on stage.

          • And people keep waving E. Schwarzkopf’s recording of Marietta’s Lied under my nose, but I’d be very surprised indeed to learn she’d sung the whole thing. But I may be wrong -- I nearly always am -- and am probably wandering off topic anyway.

            • Armerjacquino

              Leontyne Price seems to have spent half the 70s recording arias from parts she’d never play.

          • Armerjacquino

            Only Odabella, really. She didn’t do VESPRI, CORSARO and ERNANI as far as I know but wouldn’t have had too much trouble with them. And the rest of the disc is Violetta and Gilda.

            That early Sills Aida, albeit in terrible sound, is really quite impressive. I wish we heard more lyric Aidas in small houses.

            • Krunoslav

              No way Sills (whom I heard live 7-8 times) had the weight of voice to sing ERNANI in a large house in her prime. Unlike with DEVEREUX, interpolations and key changes could not have gotten her around the difficulties, not least with the orchestration-- not when people were used to the sound of Ponselle, Cerquetti, Price or Arroyo as Elvira.

              That said, Sembrich got the reviews in the 1903 Met revival:
              “Here, indeed, it found ample field for demonstrations of approval in the matchless art of Mme. Sembrich. She was in her own domain, her kingdom in which the royal purple of sovereign glory decks her fair shoulders. She reigned right splendidly, and all the others in the cast were but humble followers of her courtly train. She overtopped them all by the supremacy of her beautiful style, the style of the old Italian school which bequeathed to the world operas of the “Ernani” type and the school for singing them.

              It would be idle to go though the score and name the airs and duets in which Mme. Sembrich’s art shone most brightly, for that method of musical chronicling is about worn out; but those who heard last night’s performance will cherish memories of her “Ernani involami” and her “Tutto sprezzo che d’Ernani” as among the brightest examples of her delivery”

              But in these days high coloraturas like Adelina Patti and Clémentine De Vere *sometimes* sang Aida.

            • La Cieca

              A lot of the role of Helene lies quite low, which wouldn’t have suited Sills at all. Either role in CORSARO she could have done quite easily. I disagree with Krunoslav about ERNANI, which is in large part a high-lying role; Sills could have sung it quite well, though obviously she couldn’t match the volume or richness of some of the ladies he mentions. (But the same sort of argument has been advanced about the role of Norma since approximately the day after its world premiere: Callas was no Milanov who was no Ponselle who was no Lehmann ad infinitum.)

              Sills did mention in an OPERA NEWS interview in the late 1960s that she was interested in performing Leonora in TROVATORE because (I’m paraphrasing here) she was the part as being in the line of bel canto. And one of the roles Bing offered her for a debut was Luisa Miller, which is hardly for a soubrette…

            • Luvtennis

              I agree that Sills COULD have sung both Leonora and Elvira, but I don’t think either role played to her strengths. The challenge for Sills was the competition during her prime which unfortunately did not coincide with the period of her greatest fame. Interestingly, Price was the only singer mentioned by Kruno who kept the role in her rep for any significant length of time -- at least a decade. (Not sure about Arroyo.). It is not an easy sing for heavy voices, but most modern orchestras are too damn loud for most light lyrics and coloraturas in middle Verdi.

              I have to give Anna props for careful career planning. She has taken her time moving into heavier rep. She appears to have allowed the voice and technique to guide her choices rather than the demands of conductors and impresarios. It’s funny but I was never moved by Anna’s performance of the lyric roles that dominated her rep prior to Anna Bolena. Something about her experience with that role really elevated her as an artist and vocal technician.

        • Yige Li

          Where did she say it?

          She talked about this more than once. For your record, the last time is here:

          “Turandot wollte ich singen, weil ich hoffe, dass ich an dieser Figur etwas Neues zeigen kann, was man normalerweise nicht in ihr vermutet. Turandot ist ein erstaunlicher Charakter, sie hat eine Entwicklung hinter sich, bis sie Kalaf trifft. Ich weiß nicht, warum man in ihr immer nur diesen Eisberg sieht, eine Monsterfrau, eine enorme Partie für hochdramatische Soprane. Natürlich ist sie auch ein bisschen ein Monster. Aber ich liebe Monster. Und ich bin definitiv kein großer dramatischer Sopran.”

          • LittleMasterMiles

            Thanks for that—I was only responding to what she said in the video linked by LaC. It’s interesting in the interview you linked that she more or less says that she sing’s Liu’s aria because it’s popular, but she’s really more intrigued by the character of Turandot. She doesn’t, however, say that she could or would sing the whole role onstage. Her comment about not being a “großer dramatischer Sopran” seems to refer more to girth than timbre.

    • Armerjacquino

      Malfitano’s last Met performance came thirty years after her operatic debut. She’s hardly a cautionary tale in terms of longevity.

      • UpB7

        You have a point there. Thirty years is a lengthy career. At the same time, I heard that last Met performance -- Bolcom’s View from a bridge. Malfitano’s voice was shot there and then. Moreover, she could have had an even longer career if hadn’t put her natural instrument at such risk. Look at te Kanawa and Soederstrom. Their operatic careers lasted forty years, and it was only in the last five years of their career that they -- as lyric sopranos which is what Malfitano was -- added any roles that were heavier than lyric. Frei is another example. Perhaps she actually evolved from a lyric to a spinto, but the truth remains that she was careful with her instrument. It was only around 25 years into her career that she added any spinto roles to her rep, and not any dramatic soprano rep. She knew her limits and she didn’t try to push herself too far beyond them, and she enjoyed an operatic career that lasted nearly fifty years.

        • Armerjacquino

          Maybe Malfitano didn’t want to be cautious and sing for 50 years. We only get one life. I can totally see the appeal of saying ‘I’m going to sing Fidelio because right now I can, and I don’t care if it means I won’t be singing Mimi at 65’.

          • Gualtier Maldè

            Malfitano never had a the most gorgeous lyric soprano out there -- tonally she couldn’t compare with Te Kanawa. The other thing -- not a big market for 45 year-old Mimi, Susanna, Gretel and Violettas. Malfitano was a great stage performer and good actress. She made a choice -- I once asked her why she never sang Melisande -- she was a French specialist for a while in the eighties. Malfitano said that other important roles came her way and as time passed the opportunity was lost -- she had moved on to other repertory.
            Also I never had trouble hearing Te Kanawa but I also felt that she never gave everything she was capable of vocally or emotionally. The soprano who undersings to the point of inaudibility is La Cieca favorite Angela Gheorghiu, vocal preservationist extraordinaire.

            BTW: Leontyne Price and Renata Tebaldi also recorded “In Questa Reggia” but never sang the entire role of Turandot (Price was a stage Liu but Tebaldi only sang Liu on that RCA recording). Katia Ricciarelli also recorded Turandot for Karajan but wasn’t singing the role in the theater -- however I think Ricciarelli may have performed Turandot live but in the very late “grab the money and run” phase of her career.

            • Armerjacquino

              Tebaldi recorded Liu twice- on Decca (with Borkh and Del Monaco) as well as on RCA.

        • La Cieca

          And as we all know, the ultimate standard of operatic excellence is “how many decades did she sing?” That’s how we know that Robert Peters was by far a greater artist than Maria Callas.

        • La Cieca

          “Look at te Kanawa”

          Yes, you’d have to look at te Kanawa, because for most of her career she undersang so much you couldn’t hear her.

          • Bill

            I do not recall not being able to hear te Kanawa at any time at the Met, at Covent
            Garden or in Vienna. She was indeed a very controlled singer both vocally and dramatically -- cool, collected, wary of any dramatic or vocal outbursts -- but the voice was lovely as she was also visually. Except for Desdemona I heard her mainly in
            Richard Strauss and Mozart and amazingly she was effective as Arabella, the Marschallin, the Capriccio Graefin, even though she did not apparently know German and had to learn the roles by rote. I found her diction in these roles to be much clearer than that of Fleming (who does speak German).

  • I am very excited to get to hear AN’s album in its entirety. I’ve listened to all three of the tracks that have been pre-released so far on Spotify (In Quelle Trine Morbide, La Mamma Morta and Ebben Ne Andró Lontana) and I’ve loved all three, especially the first and third of those arias. Her voice just blooms in this repertoire, her interpretations are poignant and expressive and the recordings are polished but there is still a bit of a raw quality to them. La mamma morta is one that sounds like it was recorded in one or two takes, so we get that same effervescence she exudes in live performances. I think what Pappano said in the album trailer about her voice, i.e. that it’s beautiful but complex and very personal to her, and that she has a dark Russian sound but a Latin sense of musicality is spot on.

    As far as her singing Turandot, she had this to say about it in this interview:

    “Turandot I wanted to sing, because I hope that I can show to this figure, something new, something you do not usually suspected in her. Turandot is an amazing character, she has a history behind it, until it meets Calaf. I do not know why you always see in it only this iceberg, a monster woman, a huge game for highly dramatic sopranos. Of course, it is also a bit of a monster. But I love monsters. And I’m definitely not a big dramatic soprano.”

    I don’t know if she’ll sing the entire role (in a staged production) but at this point I trust her judgment when it comes to choosing roles that are appropriate for her in terms of vocal demands and also in terms of the drama, in the sense that she can “bring something new” as she herself said to whichever role she decides to take on or reject for that matter. I’ve said it before but I think she has a lot of artistic integrity. She doesn’t just accept any role she is offered for money or limit herself to five roles she can sing well. Albeit she does have a certain clout that other singers don’t have but she’s earned it through her consistent growth and evolution which has been fascinating and exciting to see and hear. My only real quibble with her at this point is not about even her per se, but about how almost all of her opera performances and every single one of her concert performances as of late automatically feature her current hubby, despite the fact that many if not most reviews/critics and fans have pointed out that he is just not on her level. There may not be many tenors who can sing the spinto rep well but there are enough to provide more than one option. Just sayin.

    • DonCarloFanatic

      To be fair, Sutherland didn’t appear without Bonynge, and I imagine there were people who thought that was suboptimal.

      I haven’t seen Yusif except in short concert bits, so I don’t know if he can bring the goods. Anna appeared with the prior man in her life in many double bills, too. Regardless of talent level, it’s a way of keeping the relationship from ending because of constant separations. Although not perfect.

      • Ha, well true DCF, but just because Sutherland always appeared with Bonyge doesn’t mean that that’s a precedent other singers should follow lol. You’re probably right that they do it to sustain the relationship and I’m not anyone to dictate her personal or career-based decisions but again my point is that there are other tenors she can sing with and that I’d like her to sing with like Kaufmann. I haven’t heard Yusif live either, but I just keep reading the same thing in the reviews I come across, like the one thats posted here on another thread and, and I have seen/heard clips on Youtube. She and Schrott did appear in concerts and some operas together but not as frequently as she is appearing with Mr. Netrebko and they never made any recordings together. But she and Schrott also sang very different rep and he’s a BB so there is less rep for them to sing together. In any case I’m happy for her success and I look forward to seeing her in Onegin and all the other roles she is going to sing.

    • Yige Li

      Have you ever seen even ONE joint performances of Anya and Yusif live? Then, how many of them were opera performances?

      The last opera I saw Anya live was Lohengrin. The next one would be Manon Lescaut at MET. The following (hope that I can arrange my schedule) would be Traviata.

      Where’s Yusif?

      I would actually love to see Yusif jumping into Manon Lescaut, if anything happened.

      As for the concerts, it’s obvious that without Yusif, she would not have done this many concerts, especially the Asian tour early this year (Just compare the amount of concerts she has done pre/post Yusif). Compared to opera performances, concerts require less work and return bigger fees, but also need more travelling, and give (I think, for her) less self fulfillment artistically. To travel together with Yusif, having a mixture of work and exploring parts of world where she’s not likely to travel to for opera performances as a family, certainly makes concert tours much more appealing for her.

      Yes, “there may not be many tenors who can sing the spinto rep well but there are enough to provide more than one option”. However, if it’s just some alternative options, rather than someone significantly better than Yusif, why should the opportunity for Anya to enjoy more family time be a problem for you? A happier person in life would be a better singer on stage--as audience, you still gain benefit from it, even your may see her solely as a singer on stage being able to provide you some entertainment, rather then a person with fresh and blood, just like every of your friends in life.

      Bottom line: Yusif is not a genius as Anya, but enough a professional singer to hold his own. There have been a lot of this kind of singers sharing stage with Anya, and will have a lot in the future. Being her husband is not a sin.

      • @Yigeli yes and there will also be the Onegin ????, but aside from some Trovatore performances in Vienna I think the majority of her engagements for this coming season will also feature him based on what’s listed on her website. So it’s not inaccurate to say that many if not most of her opera and concert appearances now include him. Moreover I think those engagements which you mention were ones she probably signed contracts for years ago, before they were married. But it seems that all the more recent performances she has signed on to do will be with him and of course opera houses want to keep her happy so here we are. As to your second point, of course it’s not a sin to be her husband lol I’m not suggesting that it is and I completely understand her motivations for wanting to be with him on and offstage. I follow her on Instagram and I see her posts and I’m glad that she is happy, but the fact that he is a nice guy and a nice husband or what have you doesn’t mean he’s a good singer or that we have to like his singing. I think you’re being generous when you say he’s “not a genius like Anya.” But if you enjoy his performances that’s fine, I can respect that.

        • Armerjacquino

          Evyazov is a perfectly solid singer and he isn’t exactly in a very crowded field. I’d certainly rather hear him as Calaf or Manrico than, say, Berti. If he’s singing in major houses, it’s because there aren’t many spinto tenors better than him at the moment. After all, he and Netrebko only met because Muti cast him as Des Grieux. He’d be getting a lot of these engagements anyway: yes, people will look to cast him with his wife because that’s box office, but it’s not as if he’d be doing Valzacchi in Baku if he hadn’t met her. He’d already been booked for Rome, Verona, La Fenice: his career was on the up.

          • I don’t disagree that he’s a solid singer or that his career was on the ascent when they met but it’s not exactly the slight hop you’re making it out to be from places like Rome and Verona to houses like The Met, ONP, BS, ROH, etc and he also made all those debuts rather quickly so his career may have already been going well but I do think it got a significant bump from his association with AN. But whether you think this and I think that, it’s ultimately speculative really as we wouldn’t know for sure one way or the other; you may be right or I may be right but it is what it is; I was just putting it out there that she hardly sings with any other tenor these days…by the way did you finally get to see that Italian soprano in Trovatore at the ROH? The one who was going to debut? If you did I must have missed it. Was curious to know how it went for her…

            • Armerjacquino

              Not sure I understand the first part of your post. It is absolutely the logical, tried and tested career route to progress from smaller major houses like Rome and La Fenice to the larger major houses. That’s exactly how it happens.

              Didn’t manage to see Pirozzi, alas, as I was working. Saw the live relay with Haroutounian, which struck me as pretty dull in both singing and staging.

            • But when we’return talking about going from houses like the ones you mentioned to the ones I mentioned it isnt just a transition from a smaller to bigger house, its also a transition from median to top tier houses. I was thinking of it more in terms of the latter so I wasn’t suggesting that a transition from a smaller to bigger house isn’t the logical trajectory for singers. Most singers do of course want that to happen but that doesn’t mean that it happens quickly and easily, i.e. singers don’t just take a slight hop from one tier to the next. It’s much more difficult than that. Many singers have to audition and then wait years to debut… He has been very fortunate in that it has been both a smooth and rapid transition. Some singers take years and years to do that and some don’t make it unfortunately. We all know that don’t we?

          • basso.profundo

            Agree with you 100% armer. I heard him live for the first time a few months ago, as Calaf. Considering the amount of stick he gets, I was amazed to hear that he actually isn’t a terrible singer. Is he at Netrebko’s level? not in a million years. But I was expecting to hear one of the worst tenors in existence or something. He’s far from a bad singer, he’s nothing to write home about but as you say, considering the dearth in spinto tenors right now, well, SOMEONE has to sing these roles. And I’ve heard much, MUCH worse than him at top houses in the past. Hell, Marcello Giordani still sings at the Met and he sounds like a dying animal. At least Evyazov can hold his own. He’s even got a nice, solid top that shows off some great squillo.

          • Just an aside, I blinked when I saw the Paris Opera has Berti as Turiddu this season.

        • Yige Li

          So far, on her official website, OPERA performances of the next season looks like this:

          Manon Lescaut @ Bolshoi (3 performances, with Yusif)
          Manon Lescaut @ MET (5)
          Macbeth @ BSO (3, with Yusif)
          Trovatore @ WSO (5)
          Traviata @ Scala (3)
          Onegin @ MET (7)
          Onegin @ Paris (6)

          That’s, 6/32 performances, or 2/7 productions.

          As for the concerts, I’ve said above, it’s very likely that she would not do this many concerts if she didn’t have a partner to tour with her. It would be too boring.

          And for “I think those engagements which you mention were ones she probably signed contracts for years ago”--others I don’t know, but at least, the contract of Traviata at Scala was signed this year. (Yes, 2016. It is in Italy.)

          • Armerjacquino

            Well, that draws a line under the debate. 6 shows together out of 32 performances can’t in any way be described as ‘automatically featuring her husband’ or ‘the majority of performances’. Just factually inaccurate.

            • What I literally said was “almost all of her opera performances and every single one of her concert performances AS OF LATE automatically feature her hubby…”

              As of late doesn’t just mean next season, it means recently or lately, which would include this season…sorry if that wasn’t clear…

              6/32 opera performances next season, but there are at least 6 or 7 concerts as well which are all with him plus the shedule doesnt show anything past May and she always sings at Salzburg…and I did preface my comment above with I think, not I know; I also said “MANY if not most performances…” and the statement that every single one of her concert performances as of late does feature her husband is not innacurate.

              I was wrong about next season if there will be no other performances beyond what’s published on her website, but as I said, the schedule stops at May and more performances will likely be added and then published as those dates near…so as it stands she will sing 6/32 opera performances assuming he doesn’t step in for a tenor in any of the other performances and assuming she doesn’t sing any other operas after May.

              But nice try to “draw the line” just because you don’t agree with me hehehe ;-).

              I did see the ROH Trovatore and surprisingly I was very impressed with Semenchuk. I thought she was great and everyone else was good….

            • Armerjacquino

              You really are Teflon. Give us the figures for the last year then, if all her published upcoming engagements are somehow not enough for you.

            • LOL I just realized I wrote “shedule” in my comment above instead of schedule and I omitted an “other” before engagements. What I meant to say was, “with the exception of the 3 operas Yigeli mentioned and Onegin which I mentioned, the majority of her OTHER opera engagements would be with him,” and I’m betting they’ll all be with him because she usually sings 2-3 more operas from June to August. Plus, she sang nearly all summer with him this year, minus the 4 performances in ML she sang with Giordani and the Elsas, hence why I was thinking that “as of late” or lately she’s always singing here. Anyway, I did the math for this season and I counted 16 concerts (give or take 1 or two that may have been cancelled) all of which she sang with him and again 6/32 opera performances (not counting any substitutions; can’t remember if there were any) minus those Trovatores in Paris which she was scheduled to sing but ended up cancelling some performances so I didn’t count the one or two performances she sang for that…the total was approximately 22/51 (6 in operas, 16 in concerts, and her total number of performances included 32 for operas, 3 recitals and 16 concerts) almost HALF of ALL performances. That’s still a lot.

            • Yige Li

              In better summary, she sings ALL the performances with him except those she doesn’t.

              As for your maths, she sang not 1 or 2 but 4 performances in Paris Trovatore (on her website, the dates she canceled were taken off).

              Then, as I repeated several times: without a partner (being Yusif in the case here), concerts would be much less appealing to her, and I’m very sure she would not have scheduled 16 concerts in a season (just check her previous seasons). (Plus, I remember they only did two joint concerts in USA last season, in California. Those were not in your reach, right? Why were those bother you?)

              If you want to blame Yusif, blame that because of him, Anya gave fewer opera performances and more concerts. That would be more on point.

            • Ok I didn’t know they only listed the Trovatore performances she actually sang on her website, sorry. I just counted everything that was on there except for those performances.

              Also, yes your first statement is accurate even though I explained I meant to say everything except/besides those 4 operas we mentioned would be sung with him next season.

              Finally, I don’t blame her for wanting to sing more concerts. That’s totally fine and makes perfect sense since she has to promote her new CD. I just think she she should do more solo concerts as its her CD that’s coming out, with her name on it.
              It’s not an album of duets. She did do 2 recitals this past season plus a performance (or two) of three last four songs. She did sing with him for most of this summer though and we’ll see about next summer. I hope you enjoy all the performances you’ll be attending, none of which are with him lol. Telling.

            • Oddly, when one of the Bastille staff came on stage to announce that Madame Netrebko was sick and would be replaced by Madame He (which he pronounced “eh”), he was booed, as If he’d deliberately made A.N. ill to annoy the audience, out of sheer bloody-mindedness. But perhaps they were just booing his Chinese pronunciation.

            • We can edit now.

            • Yeah I did see that there’s an edit button but the ‘shedule’ blunder was too funny to correct. And I wanted to be forthright and explain that I mistakenly omitted an ‘other’ rather than just inserting it after the fact.

              I don’t know about Turridu, but Berti isn’t a bad Cannio in Pagliacci.

            • Armerjacquino

              ‘What I literally said was almost all her opera performances’

            • …as of late”. Meaning recently, or lately, not just next season. I know it’s convenient for you to leave out that phrase but if you look at her schedule you will see she sang with him for most of this past summer. If I said “almost all of her opera performances and every…concert this past summer” I’d essentially be saying the same thing. Had I said “most of her opera performances… for NEXT SEASON” then yes, that is factually innacurate. But that’s not what I said.

              To give an analogy, if someone says, ‘John has been missing almost every day of school as of late’ you wouldn’t take that as synomous with “he’s going to miss 25 more days in the coming year” would you?

              Wouldn’t you instead take that to mean this person has been missing school lately? Couldn’t lately mean the past two days, the past week, the past month, year, two years…basically, any period of time that can be considered synonymous with “recent”?

            • Armerjacquino

              ‘I know it’s convenient for you’: sorry, but you really need to drop the implication that I’m arguing in bad faith. You made an assertion which is not backed up by the facts of either last season or the forthcoming one. You can make up your own definition of ‘recently’ to your heart’s content but don’t attack other people’s integrity when you get pulled up on saying something inaccurate. Not cool.

            • ‘Sorry’

              Apology accepted ????.

            • manou

              However many angels can dance on the head of a pin, this squabble has nothing angelic about it.

            • Armerjacquino

              Well, I’m sorry to offend your sense of propriety. I’m just not much of a fan of artists’ work being disrespected, and unfounded accusations of nepotism strike me as a prime example.

            • manou

              There are more things in heaven and earth….

            • Armerjacquino

              Well now we seem to have an argument about whether there should be arguments. Is that better? It’s certainly meta.

              Ooh, maybe there should be more rhyming posts.

            • manou

              Reason preferable to rhyme.

            • And I’m sorry that I fed your constant need to start petty arguments with people and distort what they say in order to pompously “draw lines” as if you’re some unbiased moderator on this blog.

              Further, I didn’t need to imply that you were arguing in bad faith. You clearly demonstrated you were by continously misquoting me and completely disregarding my good faith effort to explain that the words “as of late” had an important function in my sentence and that there was, at the very least, a possibility that it might be interpreted differently than what you assumed. In an actual legal context, I have seen attorneys get up in front of an appellate panel of judges and issue an apology for omissions and misrepresentations of the sort you just pulled. Moreover, it’s just plain silly and that’s exactly what my previous response was poking fun at.

              Further, the words “recently” “lately” and “as of late” are synomous and can be used interchangeably, so your accusation that I was “making up definitions” of the word recently is completely unsupported. Not only that but it is an insult to my intelligence that I would make up definitions of words to make a point. I’d happily post dictionary definitions but then you’d accused me of being pedantic as you did on a prior occasion.

              Finally, your inability to recognize your own biases when it comes to performers and your pompous need to “draw lines” in “debates” is in itself disrespectful. It’s also disrespectful to assert that “my sense of propiety” was “offended” because I have a disagreement with you and because I pointed out the sheer childishness of your continous quoting and misquoting.

              This is the type of behavior that keeps people from posting on this blog and quite frankly I’m growing tired of it myself. It contributes nothing to any conversation and it makes people feel like they constantly have to watch what they write for fear of being attacked. Anyway apologies again to everyone for this nonsense. It’s just petty.

            • Armerjacquino

              That’s an unremittingly personal attack from start to finish. In years of posting here nobody has ever said anything a tenth as unpleasant as that to me.

              Whether I ‘attacked’ you at any point is open to people reading the thread to decide for themselves.

            • “In years of posting here nobody has ever said anything a tenth as unpleasant as that to me.”

              anna behind bars
              kennedet says:
              August 31, 2015 at 8:05 PM

              “Typical Armer, why don’t you engage in a sensible discussion instead of trying to satisfy your need for anger and verbal abuse when you have an opposing view.”

              I rest my case and bid you goodnight.

            • Armerjacquino

              Well, I’m awfully glad I tried to help you locate old comments now I know what you were looking for. Sorry you had to trawl through a whole year’s worth.

              FWIW I don’t think that comment is nearly as nasty as what you posted, but since you clearly think you’ve proved something I can only say well done. There are other examples of times people have reacted to a disagreement with personal abuse, why don’t you post them all so I can have a really nice day?

              I’d just like to reiterate that all this is happening because you’re angry I questioned an incorrect assertion you made. I hope you think it’s a good look for you.

            • Good Morning! Or afternoon I guess lol

              Kennedet’s post starts with ‘typical armer’ so it took me a whole 5 seconds to find on Google ????. But thank you for your concern! It’s much appreciated.

              Also, you can keep victimizing yourself all you want but you did more than question an incorrect assertion. You took it upon yourself to draw lines and then misquote me. There are ways of disagreeing with someone without resorting to those sorts of tactics (see Yigeli’s posts above).

              So yes, all in all, standing up to your bullying is a great look for me. Bye now. ????

            • Armerjacquino

              Like I said, I’m happy to leave it to others to decide who’s occupying which role here.

            • Fair enough.

              Are you going to see Norma with Yoncheva? She posted a picture on Facebook recently while in costume and captioned it with “do I look evil enough for Norma” or something like that, which I thought was a bit of an odd comment but Im guessing it has to do with the production concept? I’m looking forward to seeing what she will bring to the role; it looks like it will be an exciting season overall for ROH.

            • Armerjacquino

              My remark about ‘sense of propriety’ was -- I would have thought pretty clearly- a response to manou’s reply, by the way. I mean there’s even a little arrow pointing to her name at the top of it.

            • no I didn’t realize that comment was directed at manou because you were talking about me being disrespectful, in a passive aggressive manner might I add but I apologize nonetheless. I honestly didnt see the arrow.

            • manou

              That little arrow pierced my heart…

            • Armerjacquino

              Think of it as pointing informatively with a finger, rather than some kind of St Seb vibe…

            • manou

              Percé(e) jusques au fond du coeur

              D’une atteinte imprévue aussi bien que mortelle,

              Misérable vengeur d’une juste querelle,

              Et malheureux objet d’une injuste rigueur,

              Je demeure immobile, et mon âme abattue

              Cède au coup qui me tue.

            • You do take things hard, don’t you?

            • manou

              Je plaisante. Et je remercie le Lycée du bourrage de crâne.

            • Armerjacquino

              She ain’t the only one.

            • Armerjacquino

              If you see Cid, tell him.

            • manou

              Good -- but probably lost on most people here.

            • Armerjacquino

              Oh god yes, good point.

              Mental note: 1980s British TV ads are not a universal reference point.

            • manou

              To be fair -- neither is Corneille.

  • DonCarloFanatic

    I’m really surprised to hear how many concerts AN has done recently. I guess because so few get scheduled for the U.S., I think of them as rare occurrences. According to the math somewhere below (or above, depending on how you like to view your threads), she sang the equivalent of once a week in the past year. Is this typical, a heavy schedule, or a light one?

    • Kullervo

      It’s not light by any standards; whether it is ‘typical’ or ‘heavy’ cannot really be said, as Netrebko is far from a ‘typical’ professional singer so her schedule cannot be compared with anyone else.

      If you compare her with classical instrumental soloists on her level of fame it’s comparatively light, however. Someone like Daniil Trifonov does upwards of 150 concerts a year. Piotr Anderszewski, before he took a sabbatical, said he was doing something like 200 a year. But of course the physical demands between singing (especially singing opera) and playing an instrument are quite different.