Cher Public

O dolce mano

Anna Netrebko teases her next project on Instagram: “A new role. Briefly, the character of the heroine is a crazy bothersome hysterical bitch. What’s there to like about her, the music? As usual, the tenor’s part is better!”

  • spiderman


    • Tosca is already in the books for the spring at the Met.

      I’m thinking Turandot. And I would be delighted with that. I love her “In questa reggia” and she has temperament and the soaring high Cs the part needs.

      • MisterSnow

        “Crazy, bithersome, hysterical bitch” does not sound like Tosca to me. Turandot on the other hand…..

        • John L

          That sounds about right. Definitely Turandot. Though when I saw Turandot this past fall during the shakedown of the #metoo revolution, I can kinda see why a woman might feel like how Turandot feels.

        • Sounds like Elektra, but Aegisth isn’t that great a role.

      • fletcher

        Personally, I will lobby hard to hear Domingo’s Altoum.

      • CKurwenal

        It’s Tosca. She’s not giving out new information here, just talking about how she feels about what she’s up to.

  • H_Badger
  • Camille

    The spine of that score says TOSCA. Is this supposed to be news? The Turandot is already on Met Wiki Futures (alongside Elena Pankratova in a year or two).

    What I’d like to see/hear is Katarina Ismailova. Now there’s an hysterical, crazy bitch to end all!

    • Armerjacquino

      I think we need to use Occam’s Razor here, so I’d say your first reaction has to be the correct one. That’s a TOSCA score, so it’s TOSCA she’s talking about.

      • Camille

        armer, would you help me out with Occan’s Razor as I don’t know what that is. sorry to be so dense and old.

        • z. barf

          the most simple answer is probably correct.

          • Camille

            z. barf--obviously correct. TY.

  • Talk of the Town

    I agree with Anna! “Vissi d’arte” is beautiful if you don’t understand Italian, but I find it hard to feel sympathetic during 3 minutes of “Why me!?”

  • Degan

    Why is she singing it if she does not like it?

  • southerndoc1

    All she says is “a new role,” not “a new role that has not been previously announced.”

    So guess she’s going to show after all.

  • Santuzza? It fits the description. And the fragment of the letter seen in the curve between the thumb and index finger could be the top of a C as in Cavalleria Rusticana.

    • Camille

      The Cavalleria Rusticana a Sonzogno score and is green. This is a classic Ricordi binding.

  • NineDragonSpot

    Perhaps this is her extremely arch way of referring to “Erwartung”.

  • southerndoc1

    I know it’s not what she’s talking about here, but Wally could be a great role for her -- requires a big spinto voice and she could act up a storm.

    • Camille

      That would be FAB! I’ll vote for that one, and as it would have the added benefit of enRAGING all the Tebaldi widders. A storm of controversy would keep the tickets selling. Also, I suppose the husband could be drafted to sing Giuseppe Hagenbach.

      As I’ve actually never seen Wally, only having heard it with Teatro Grattacielo quite a number of years ago in a very lukewarm performance, a lot like yesterday’s leftover oatmeal, I would glory in the opportunity of seeing “LA VALANGA!” staged, as it were.

    • Yige Li

      IF she decided to sing it (with a capital IF), I’m quite positive that Riccado Muti would be the one in the pit.

  • Camille

    Then there is always my pic fave — FEDORA! That is an end of the line role, though, so we’ll have to wait for it.

    • CKurwenal

      I don’t think it always has to be. Callas did it slap bang in her prime. Marton recorded it in the 1980s not that long after her career really got going, similarly Gheorghiu, despite apparently having been semi-retired for ages now, probably didn’t consider herself as such when she recorded it. I think it’s a grateful role for a spinto capable of projecting enough gravitas, at any age, it’d be great if Netrebko did it sooner rather than later (just as she has with Adriana).

      • Luvtennis


        Not disagreeing with you, but I think Marton’s best period as a singer preceded her fame by a number of years. Her early recordings were breathtakingly beautiful. By the time she conquered the Met, the tone had become a bit blowsy and force had replaced grace.

        • CKurwenal

          That’s all true, but it isn’t as if she was nearing retirement. She was massively in demand and nobody thought she was at the beginning of the end.

      • Baron Douphol

        Callas did it in her prime solely as a favor to Mario del Monaco. They were both scheduled for Trovatore at Scala when Sig. del Monaco decided it wasn’t right for him at that time, and Loris would be a better fit. Mme Callas, as a gracious college agreed to be his Fedora not due to a need to sing it but as a favor to a college.

        • Yige Li

          I think this story was about 1955 “Andrea Chenier”, while Callas’ Fedora was with Corelli in 1956.

          • southerndoc1

            Wasn’t Chenier actually a substitute for Parsifal, which makes it even more bizarre?

            • PCally

              Chenier was a sub for Trovatore. There was speculation (or at least in bios of Callas there are reports of speculation) that the tenor didn’t want to be shown up by Callas, who was a famous Leonore and so asked management to switch operas at close to the last minute, hoping that Callas would balk at learning a new role on such short notice. Callas basically learned the part in a matter of days and sang her only run of the part with not real intention of keeping it in her active repertoire. I don’t know how Fedora came about but I don’t believe it was a last minute substitution for anything.

            • southerndoc1

              Just checked -- according to M. Scott’s book, the Fedora was a substitution for a Parsifal with Kleiber after his sudden death -- even stranger!

          • Baron Douphol

            You’re absolutely right. I stand corrected. Pity no one thought to tape the Fedora prima

        • CKurwenal

          Callas sang Fedora opposite Franco Corelli, so it was no kind of ‘favour’ to Del Monaco. I think you may be thinking of the anecdote reported by Ardoin about Andrea Chenier the year before, which was opposite Del Monaco. Incidentally, according to an online database, she was also announced as Fedora in 1944 in Greece, at the age of 20.

  • If it is Tosca, then that’s not much of a teaser, is it? I mean, I’m really looking forward to her Tosca, but am I supposed to get excited that she’s learning a part in which she has been well publicized?

    • Armerjacquino

      Well, you’d have to take that up with Netrebko, I guess. But the spine on the score and la Cieca’s title for the thread do seem to wrap it up.

      • I’ll be sure to do that, post haste.

        • Armerjacquino

          Your complaint that her teaser isn’t teasy enough isn’t really something anyone else can help with.

          • Imagine my utter surprise that you have taken a comment and made it a much bigger deal than it is.

            • Armerjacquino

              Yes, I’m definitely the one who did that here.

            • Armerjacquino

              Anyway, this must be boring for everyone to read. You don’t like most anything I post and if I won’t make the mistake of engaging in future. Much more sensible than this constant cycle of snip and response.

    • CwbyLA

      Well, how many times do we get excited about soprano XYZ who learned a role in a few days and created a sensation? I remember an interview in which Yusuf Eyvazov made fun of Netrebko because she arrived for the rehearsals not knowing Manon Lescaut.

  • Walraud Riegler

    La Forza del Destino

    • fletcher

      In terms of pure fantasy casting, I’d rank an Anna Amelia slightly ahead of the Forza Leonora. I’m probably alone but I think Grigòlo would be a fine Gustavo/Riccardo -- maybe Kwiecie? as Anckarström/Renato, Barton and Gilmore to round it out? Oh and do it in California, thanks.

      • Armerjacquino

        Agreed. Act II of BALLO could have been written for Netrebko- not just the aria and duet but the ensembles that follow would all play to her strengths vocally and dramatically. I can’t wait for her to take it on.

        I like the suggestion of Grigolo too, a playful overwrought grandstander to play a playful overwrought grandstander (it might be a touch heavy for him but I’m sure the odd sob and gasp could cover that…). Kelsey rather than Kwiecien for me, and I’m going to bankrupt my opera house with A-Rach and Oropesa to round off the cast, even though I’d imagine they’re both long past the Ulrica/Oscar stage. Man, I miss studio recordings.

    • ines

      Her husband said in a spanish interview, that they had much fewer engagements together, than what people think…
      He went on to mention LaGioconda and Fedora in the future.
      And a Forza del Destino, but in that one he would be 2nd cast to Kaufmann.

  • NineDragonSpot

    Perhaps this will be the first Tosca where the leading lady forms an alliance with Scarpia.

    — ??????? ?? ???????????? ????????? ? ??????? ??? ?????????? ? ??????????? ????????? ?????????? ? ?????????? ????????
    ?.?.: ???? ?????? ?????????? ???????? ????????????. ??? ??? ??? ????????, ???, ? ??????? ?????????? ??? ?????? ????????? ??????. ?? ??????? ????, ?? ?????? ?????. ??? ??? ??? ??? ??? ????????????? ? ?????????? ??????? ??? ????? ?? ??????? ???????, ??????? ?? ?????? ??????????.
    ?.?.: ? ????? ?????????? ??? ?????? ???!

    ??? ???????

    • DonCarloFanatic

      I’d call it proof of having many vulnerable relatives and friends living in Russia, nothing more.

      • NineDragonSpot

        That word “proof”: I don’t think it means what you think it means.

    • LaFavorita

      Only if il prezzo is right.

      Sounds like a komsomol speech from the 1970s.

  • ER

    Even though the o dolce mano leans toward Tosca, short role, crazy bitch, and tenor has the better music point to Turandot. Tosca is not that short.

    For a quick second I thought it may be Salome-- she meets the crazy bitch criterion in spades — but the only tenor role is her father.

    • Armerjacquino

      She doesn’t say it’s a short role, though…

      And, at the risk of sounding like a cracked record, she’s holding the score of TOSCA.

  • southerndoc1

    The Young Maiden in Moses und Aron.