Cher Public

Princess Bride

Alluring Anna Netrebko sings an aria from Tsarskaya nevesta two nights ago.

And, for comparison, here is Anna almost a quarter of a century ago, in 1994.

  • CCorwinNYC

    It’s funny that just this morning I discovered that Bard Summerscape will be performing The Tsar’s Bride in August as part of their Rimsky-Korsakov and his World festival.

    The entire opera from SF 2000 with Netrebko, Borodina and Hvorostovsky can still be heard here--

    • Camille

      That is a REALLY beautiful performance, I must say! I listened to it after DH died and was disconsolate for a time thereafter, though. One of my greatest and fondest memories of a night at the opera was the one (of several) that I heard both DH & OB sing in Pikovaya Dama, although not together, of course.

      I heard Tsar’s Bride at OONY with my beloved Borodina about eight -- ten years ago but walked out that night as the soprano gave me agita, and I was already unhappy about other things, going in.

      Maybe I’ll trek up to Bard this year. It’s possible I may be able to stomach Dr Botstein’s armwaving better now as I’ve given it a break for a few years. He could have improved, but that I doubt. Why should he?

  • Antikitschychick

    That was so fucking beautiful ????????????. I absolutely love Rimsky-Korsakov. When is she going to record a Russian album part 2? ????

    She looked beautiful as well and it’s interesting that for this aria she sang it with the lighter sounding, bell-like voice she used to have. It’s incredible that she can still do that. I read a very interesting interview she recently did in Russian that was all about singing and her upcoming roles and such and she stated that she can still sing light roles like Adina but that she’s not interested in doing them. She’s taking on so many new roles at this point that it really doesn’t matter but it’s such a lovely sound she has….and her interpretative ability has obviously grown immensely as her technique has improved.

    I look forward to her Salome, Turandot and I hope she finally does decide to sing Elisabette in Don Carlos. Idk about Abigail in Nabucco but it’ll certainly be interesting to see/hear.

    Tosca is a wild card at this point because she doesn’t like the role. I don’t think she’ll cancel the Met run at this point but…as we know all things are possible.

    • Ivy Lin

      Hmm I find when she tries to lighten her voice for this sort of music she tends to sing a shade under the pitch. Her intonation improves markedly when she’s singing her “new Anna” repertoire of verismo. What I find most impressive about this clip is that despite the occasional flatness her timbre has retained its beauty and this is after a very busy international career of about 20 years.

      • Interesting you should say that as when she was younger the reason I didn’t like her was she always sounded flat to me.

        • Williams

          If memory serves the comments on her tending sharp were numerous both in the music press and in these august quarters. She was quoted, in interviews, lamenting this more than once herself. Though never discomfited then nor am I now by this alleged flatness some might hazard a guess that she’s overcorrecting.

      • Antikitschychick

        I didn’t rear any under pitch singing in the above clip but I only listened to it once…her intonation has definitely improved in recent years as I do also recall she used to sing a bit flat at times before she had her son, and yes you’re right that it’s impressive she’s retained the beauty in her timbre and whatnot after a long career. She’s managed her career very wisely and has taken calculated risks that have paid off, but of course it helped that her voice evolved pretty dramatically.

      • Tamerlano

        She doesn’t sing flat in this performance.

      • southerndoc1

        I’d say the voice is much more beautiful than in the clip from a quarter century ago. Really impressive.

        • Damianjb1

          The whole aria is also much more beautifully shaped in the later performance.

    • I’ve been on a Rimsky-Korsakov binge this week, as it happens. Schnegurochka, Sadko, Kitej, Kashchey, Golden Cock… I’d be very happy to have more of him instead of more new productions of La Bohème and the Flute.

      • Trevor Zcikiosuius

        Me too! I’m not exactly ecstatic with “Tsar’s Bride” instead of any of your other above-mentioned operas or “Pskovityanka” or “‘May Night”, the latter which I think is a comic gem. Although, Bard is also doing “Mozart and Salieri” on Aug. 18 and I’m hoping to go up for that second weekend of Summerscape when R-K’s cantata “From Homer” (fruit of an aborted opera based on fragments from the Odyssey) will be performed. The vocal writing for the female soloists in this work is deliciously intoxicating, in my opinion. I also hope to make it to Bard to hear Rubinstein’s “Demon” in late July or early August. R-K’s rarely performed piano concerto is on a program along with Taneyev’s Fourth Symphony during the first weekend of Summerscape (I love both of these works), but I just can’t make both weekends of Summerscape due to other competing obligations.

        • Camille

          Bol’Shoye spasibo for the note regarding the production of The Demon, of which I’ve become a fan since hearing Dima sing the role/opera a couple years ago via internet and which may still be up there if anyone is interested. As well, the chance to hear Mozart and Salieri, which has heretofore been only an obscure footnote I’ve read about. Wow. Looks like it’ll be a SummerScape summer for me this year, something to look forward to!

          • Trevor Zcikiosuius

            Sudovolstviem, Camille. I’m not a fan of ‘Mozart and Salieri” but I’m not going to miss it, especially since it’s paired with Mussorgsky’s “The Nursery”. The choral program that second weekend also has me tantalized -- there is so much glorious music from that era from which to choose (the program does not identify the specific selections by the Bard Festival Chorale on Aug. 19), but I’m sure I will enjoy it whatever they choose to sing. As for The Demon, it’s ironic that it is on this season at the Liceu in Barcelona where Dmitri was originally slated to sing. The title role has now been taken on by Egils Silins, with countertenor Yury Mynenko as the Angel. I saw Mynenko in Paris last April as Lel in R-K’s Snow Maiden (which I adore). I initially had difficulty with the casting of a countertenor in the mezzo role, but I must admit he was effective.

  • CwbyLA

    That soft singing at the end was so beautiful!

  • La Cieca

    The complete Moscow concert (dedicated to the memory of Dmitri Hvorostovsky) may now be viewed on YouTube..