Cher Public

The once and future queen

In addition to her first Met Aida performances next season, forthcoming projects for the one and only Anna Netrebko just keep gushing out. 

According to an interview in Classica magazine (as quoted on the website Revopéra) the diva’s plans include her first Lisa in Pikovaya dama at Salzburg in 2018, conducted by Mariss Jansons; a debut at Bayreuth as Elsa in 2019; the previously mentioned Salome; and, oh did I mention two new Verdi roles, Amelia in Ballo and Leonora in Forza?

  • CwbyLA

    Soooo exciting! She is on a roll. I love the direction she decided to take her career.

  • PATRICK MACK

    I saw her sing the Ballo duet with what’s-his-name here in LA and she was outrageously good. The kind of voice that can really do justice to the role of Amelia. I can’t wait. Salome? Me no know.

  • fletcher

    Glad she’s accelerating that ten year plan for Lisa -- I imagine she’ll be spectacular.

  • Satisfied

    Fuck! And I said I wasn’t planning a trip to Salzburg next year. Hate this woman, she’s costing me too much DAMN money!

    • Yige Li

      Relax. You can save some money next year (for later use…). Pique Dame will happen but not next year, for what I’ve heard.

      • Satisfied

        That’s great news! Thank you!

  • Joggerboy18

    Does this mean we’ll get Yusif’s Herman as part of the deal? Can’t wait -.-

    • Bill

      Yusif is replacing Marcello Alvarez (reportedly ill) as Manrico next week in Vienna to Netrebko’s Leonora.

      • Joggerboy18

        Oh joy

  • DonCarloFanatic

    I need Salzburg ticketing and travel advice. Since Anna comes to me only rarely, I want to go to her.

    • Satisfied

      Happy to help…fell in love with the city last year and just came back after spending another week there this summer. Heaven on earth :-)

      Generally the season is announced end of October or early November. Hope that helps!

    • Yige Li

      Where do you live? If your aim is just to see Anna and can go to MET, I would say go to MET. Salzburg is not the easiest place to get a ticket, though its atmosphere is unique. Here’s the data: the capacity of Großes Festspielhaus is 2179, while the MET can seat 3800 (and + 195 standing room!). For example, this year, she performed in 5 sold-out “Aida”, but in fact the audience number is still less than 3 full-house MET. If you need Anna + Salzburg, buy a subscription then have Anna’s performance as add-on; or find an agent paying some extra $.

      • DonCarloFanatic

        I’m in the D.C. area. I already have my ticket for her Met Tosca next year, but I keep hearing all these wonderful things about Salzburg, and then there’s strudel to consider, too…

        • Satisfied

          It’s actually pretty easy to get tickets, at least I’ve found. Just make sure your order is in before the cut off date (usually early January). Salzburg does not sell subscriptions but you can chose a series of second and third choices (dates, price). I had no problem getting two mid-priced tickets for Aida (though I requested 3) and had great seats for each of the other performances I attended. The houses are all smaller than the Met and the Haus for Mozart is particularly a gem in terms of acoustics and sight lines. Admittedly, Salzburg tickets are not cheap (40 to 450 €) but you can generally mix it up to spend more on one or two operas and less on others/classical performances. As for accommodations, Salzburg has a wealth of exceptional Airbnbs.

          Hope this helps! It’s certainly a trip you’ll want to repeat over-and-over again (at least I do)!

          Oh, and yes…there is the strudle, but let’s not forget the schnitzel!

          • Yige Li

            Well, I applied it for this year (my first time) but didn’t get it. It surely gave me hard time later to find some alternative ways. “Subscriptions” might not be the best word, but there’re certain packages that you can understand it as “subscription” that also give you priority when they accepting applications for other tickets. I have friend bought such a package then applied ticket for 19/8 “Aida” as 1st option, but only got 12/8 (No Anna’s “Aida” included in an package). She lives in Europe, so the situation is not too bad if the date of one performance is bit far away from others. I also know several friends who applied about 7 different performances there, and “Aida” was the only performance they didn’t get. That’s their first trip to Salzburg Festival and they didn’t have any 2nd & 3rd option dates due to schedule. I think this might affect the result.

            • Satisfied

              I’m really surprised to hear this…I would have been furious had I not gotten Aida but scored the rest. I suppose their is always the secondary market and the ticket agent in Mozartplatz usually has tickets for all performances, but would have still been annoyed.

              I wonder why you and your friends had such difficulty. Did you submit your order before the processing? If you don’t mind me asking, what price ranges did you select? I just want to make sure the next time I order I don’t have any difficulty. I’ve only ordered once prior so I doubt I was given any special priority.

            • Yige Li

              Of course before the deadline. I ordered it last year! And the price option from lowest to highest. But the 1st option was only 150, maybe that’s the problem. And I only ordered one ticket for “Aida” and nothing else, due to my tight schedule this summer.

              For my friends who applied for 7 performances, I don’t know the price range they select. But based on their other tickets, I don’t think they choose high price options.

              I think you can feel pretty safe. A friend who got a 270 “Aida” on 9/8 (he applied for 6/8, but apparently premiere is a hard one) told me, for all his applications, only when he applied Salzburg for the first time he didn’t get “Macbeth” conducted by Muti, in later years he always can get the tickets. It seems the first time is the hardest.

  • Camille

    Very good to hear and I’m so pleased she finally received my fax regarding Amelia and, especially, Lisa. Leonora di Vargas in the Russian original would be extra nice, too, while we’re at it. Is the Turandot still on? Thinking it’s still there on the Met Wiki page.

    At least there’s none of that Adina crap any more, and thank god for it as that got very tiresome.

    The husband is getting many, many opportunities now and it appears not entirely certain that’s due solely to his proximity to this WeltStar, as, he does— whether one cares for him or not—have some real merits on his own, futile to list them as it would cause only further subjective debate. I must conjecture this much however: It’s my feeling that too many opinions of him have been formed from listening via the internet while his is a voice best heard in a large house (as it does carry well over a large orchestra).

    I am looking forward with the keenest interest to their joint Andrea Chenier coming this December, from La Scala. It could be a pivotal moment for the pair. On verra.

  • Yige Li

    According to this interview, “La forza” should happen at ROH first.
    http://www.telegraph.co.uk/opera/what-to-see/anna-netrebkomy-husband-just-thought-crazy-prima-donna/

  • Luvtennis

    I just finished listening to the Salzburg Aida. I loathed Anna’s performance. What could have been great, even epochal, was nothing more that Tebaldi-lite. I blame Muti. For all his talent, I realize that he sees Italian opera as nothing more than a cultural artifact. I think Verdi was more than that. Wake up, Anna. You are not Tebaldi or, ick, the fraud Millo. Verdi’s music is universal. Sing it the way you were meant to sing it.

    I am starting to feel like the art form I love is truly dead. Dead.

    • La Cieca

      Histrionic Personality Disorder is a terrible burden.

      • Luvtennis

        Yes. It is.

        • La Cieca

          You omitted “Ohimè!”

          • Luvtennis

            I prefer “O Dio, m’assisti!”

    • CKurwenal

      What do you mean by ‘Tebaldi-lite’? I thought a lot of Netrebko’s singing in this was excessively conscientious, correct, sometimes over-sung, and not terribly individual, but I’ve never found her to be a particularly distinctive interpreter in terms of the actual singing. As a piece of pure singing, I found it very impressive, I just didn’t think she had made it her own. However I certainly didn’t get the impression she was trying to sound like somebody else or that she was ‘lite’ in any way -- just that she was a little bit wedded to the dots still, and perhaps to instructions and guidance she had received from Muti or coaches during the preparation process -- which isn’t that unusual for her or anybody else in their first ever run of something.

      • La Cieca

        Silly, you make the mistake of believing this performance was about Netrebko, Muti or even Verdi. Clearly this is from beginning to end about Luvtennis and his self-designated status as musical arbiter.

      • PCally

        Cosign Cockys comment. This Aida seemed to be representative of Netrebko in her role debuts. Some of it oversung, some a bit too careful as though she hadn’t worked the role into her voice yet and some moments of really exquisite and passionate singing. Not ideal but I can’t imagine she won’t improve immeasurabley as she sings the role more. I’m not really sure I know of another singer who I’d currently prefer to hear in this part. Had high hopes for stoyanova but was underwhelmed at her met performances.

        And the Tebaldi comment almost made me laugh out loud. Have you ever heard a Tebaldi Aida? Lord knows I worship the woman and thinks she gets a bit of a bum rap these days, but Aida was far down the list of her best roles. All the recorded evidence I’ve heard of her in the role show her struggling with the demands of the music to a far greater extent than Netrebko does here.

        And I’m no Millo fan, but calling her a fraud is a bit much when there are many performances in the 1980s that are very impressive indeed, if flawed. Odd that you seem to only like a performance if it follows your precise definition of vocal perfection.

        • southerndoc1

          There’s a live Tebaldi Aida from Naples (? 53) that shows she had, if briefly, everything needed to sing the hell out of the role -- more so than anyone else I’ve heard.

          • PCally

            Thanks, I’ll certainly check it out as I love Tebaldi and frankly haven’t really heard many Aida’s I love completely.

            • southerndoc1

              Be forewarned that it should be billed as Tebaldi and Prompter in Aida.

        • Luvtennis

          PCally

          I was not suggesting that Tebaldi should considered the standard for the opera. My issue was that I didn’t feel Anna was making the role her own. I think Muti, whom I admire a great deal, was determined to make a statement and the result felt sterile. Just my personal reaction.

          I felt that Millo was gifted with a wonderful vocal endowment that she did not serve as well as she should have. I always felt she was trying to sound like Tebaldi/Milanov and overweighted the voice striving for a big sound in the middle and upper middle. And her phrasing was pure big Renata. Sorta like Lucia Aliberti, except her Callas mimicry may have been due to her idiosyncratic vocal production (at least in her early days -- later she appeared to just ride that horse).

          • La Cieca

            So do you need to get some kind of special attachment for your bicycle to accommodate so much backpedaling?

      • Luvtennis

        Cocky, you put your finger on it. And you are right about first performances. But Anna is at the peak of her career, and I expected more given the circumstances. And I was a little pissed that I listened to the entire thing waiting for something great….

        • La Cieca

          They really should have more consideration for you.

        • Bill

          However -- I read some 20 reviews of this
          Salzburg Aida in the German, Austrian and Swiss press and virtually all of them
          praised Anna Netrebko’s Aida profusely
          sometimes with a few minor quibbles but most of them were extraordinarily positive and glowing with admiration. I am sure that every successful Aida since the end of WWII (Tebaldi, Stella, Welitsch, Callas,
          Milanov, Rysanek, L. Price, Arroyo, Nilsson, among others etc.) had detractors. We can rejoice that Netrebko has taken on the role -- other than Salzburg and the announced future Met appearances she will probably take it to several other major opera houses in the next few years (and maybe even eventually with Garanca as Amneris). It is interesting to note that Netrebko is
          entering, more and more, Welitsch
          territory (Tatiana, Lisa, Tosca, Aida, Ballo,
          Salome) but then you can find also that
          Rysanek also same many of the same
          roles that Netrebko is now undertaking (including Elsa and Turandot if Netrebko plans to sing it sometime).
          Turando

          • Camille

            “It is interesting to note that Netrebko is
            entering, more and more, Welitsch
            territory (Tatiana, Lisa, Tosca, Aida, Ballo,
            Salome) but then you can find also that
            Rysanek also sang many of the same
            roles that Netrebko is now undertaking (including Elsa and Turandot if Netrebko plans to sing it sometime).

            YES, it IS interesting and thanks for bringing up this point as the trend was reminding me of someone or something but had as yet not precised whom or what. The excerpts of Welitsch’s Lisa are just terrific, my favorite.

    • Camille

      luv tennis, esq. —

      THIS comment I’ve mulled over for some time now and finally had opportunity to also watch the performance in question, as well as my initial listen in on the date of the transmission.

      To be quite frank, and without offense intended, it sounds to me as if there will never be anyone besides Leontyne Price to sing this to your satisfaction; isn’t that the source of your vexation?

      I’ve listened to both Tebaldi’s 1953 “O patria mia” and Netrebko’s, and although Tebaldi wins for bewitching mezza voce tonal quality, the fact is that even in 1953 the ascent to the climactically universally terrorizing phrase to the high C, was taken with a great deal of effort and the effect was rather too loud and screamed out, unfortunately. Netrebko’s was far more congenial and will most likely improve, as a piano high C is something which (as heard in the final scene of Anna Bolena) comes fairly easily to her. I heard absolutely nothing to recall Tebaldi in Netrebko’s performance and wonder what in the world would prompt such an idea?

      As well, this was the second or third performance of her Aïda, and for that much an already excellent one. Believe me, I have seen a variety of far more experienced Aïdas both here at the Met and elsewhere not even come close to the Netrebko effort. If still, as Cocky very rightly and fairly says, she is still wedded to the coaching she’d had by Maestro Muti, she does well to err on the side of caution in this most treacherous and exhausting of roles.

      And April Millo —

      She may certainly have overdone the playacting a bit much of being part of a “line” of tradition, alla Tebaldi, Milanov, Stella, et al. ad nauseam, but she was truly a gifted singer in her own right, and most sincerely TRYING to express something along the lines of what had come before her and conserve that tradition, and I respect her for having tried so valiantly, if not always successfully. I have had varying experiences of her in person — have you heard her in a house or on recordings? — a poor Tosca, but a wonderful Adriana Lecouvreur in Carnegie Hall, as well as a very memorable and beautiful sounding Maddalena at the MET as late as October 2002.

      That’s all I have to say, and please excuse me as I am not in the habit of taking persons to task regarding their opinions as it’s none of my business. However, since you are no dimwit, I ask you to think over some of what you’ve said and reflect a bit. Thank you for listening, if you have.

  • Apulia

    Just watched the Salzburg Aïda onYoutube (I had previously listened to it), and then by chance saw the ’63 Verona performance with Gencer listed (also on Youtube, but lacking the last act, and with Simionato and Guelfi). I was struck not so much by differences in singing and acting and actually found Netrebko and Gencer somewhat similar in effect. Let’s just put down my preference for Gencer to personal taste for now, that’s for another time, but I also enjoyed Netrebko. But the most striking difference between the two entire performances for me, at least today, was that the Verona performance is so damn much more fun. And the crowd enjoys everything, which helps: the crowd scenes, the ballet, etc. Who enjoyed the horned dancers in the Salzburg performance, or the static crowd scenes? That Simioniato and Guelfi are so good helps (the tenor is the weak link in both performances), and the father-daughter confrontation scene between Gencer and Guelfi is white hot. Who cares about the over-the-top production, acting, and excesses when stuff like that happens? Sometimes the singers bring the Salzburg performance alive, too, but they are in the end defeated. Between Muti’s seriousness (yes, I know the orchestra sounds great) and those damn sets the Salzburg performance is embalmed, and Verona brought the opera back to life.