Troth or dare
Chris’s Cache would argue that Prokofiev’s Betrothal in a Monastery is a much more enjoyable alternative to the pandemic-canceled Barrie Kosky The Fiery Angel
Anna Netrebko
207 pieces since 2005 — in 33 roles, at 21 companies, most often at Metropolitan Opera.
207
pieces
33
roles
21
companies
22
years
By role
Leonora 8
Lady Macbeth 8
Manon 7
Tosca 5
Lucia 4
Anna Bolena 4
Tatiana 4
Norina 4
Natasha 2
Juliette 2
Mimi 2
Donna Anna 2
Aida 2
Violetta 2
Lady Macbeth; Butterfly 1
Marfa 1
Manon Lescaut 1
Tatyana 1
Turandot 1
Maddalena 1
Lyudmila 1
Louisa 1
Adina 1
Iolanta 1
Giulietta 1
Gioconda 1
Gilda 1
Elvira 1
Elsa 1
Antonia, Stella 1
Amina 1
Amelia 1
Adriana 1
By company
Metropolitan Opera 44
La Scala 4
Wiener Staatsoper 3
San Francisco Opera 2
Royal Opera House 1
Vienna Staatsoper 1
Teatro Real 1
Teatro alla Scala 1
Staatskapelle Dresden 1
Salzburger Festspiele 1
Salzburg Festival 1
Salzburg Easter Festival 1
Royal Opera House, Covent Garden 1
Berlin Staatsoper 1
Richard Tucker Foundation 1
Opéra de Paris 1
Nationaltheater München 1
Lyric Opera House 1
LA Opera 1
L.A. Opera 1
Berliner Staatsoper im Schillertheater 1
44 pieces as Metropolitan Opera — stats above show all coverage for Anna Netrebko.
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Bachelor party
It may be blasphemy to admit—particularly this month—but usually I can either take or leave Donizetti’s serious operas. However, I love the composer in comic mode, so Chris’s Cache runs with that sentiment in offering three recordings of Don Pasquale.
Thoughts on Il trovatore: the opera
When asked to express some “thoughts” here about Verdi’s Il trovatore, my immediate thought was “hmm… not a lot to think about there.”
Through different eyes
I was reminded at the Met’s season premiere of Eugene Onegin Friday night always to expect the unexpected.
The expansive and the ostentatious
Proudly and vividly on display was Anna Netrebko’s unique and glamorous ability to wear the music like a parade of couture gowns—some more sparkly than others, some a more flattering fit, but all thoughtfully chosen and laced into with care.
Like an angel passing through my room
Tonight at the Met should have welcomed Barrie Kosky’s production of Prokofiev’s The Fiery Angel; in its absence Trove Thursday steps in with a recent broadcast featuring this summer’s breakout star Ausrine Stundyte as the enigmatic Renata.
Eugene Onegin
Starring Anna Netrebko, Piotr Beczala, Mariusz Kwiecien and Alexei Tanovitski, conducted by Valery Gergiev. From October 5, 2013.
I puritani
Conducted by Patrick Summers; starring Anna Netrebko, Eric Cutler, Franco Vassallo and John Relyea. Transmitted live on January 6, 2007.
Queen of the New Year
Although the gold glitter cannons detonated at the end of the act were an ostentatious reminder that this was a celebration of the new year, it seemed that the only words on anyone’s lips as the audience filed out of the theater were “Viva Netrebko!”
The other woman
I can’t think of an opera this year that I’ve enjoyed as much as Tuesday’s Met Macbeth, thanks especially to the smashing house debut of Italian soprano Anna Pirozzi as its blazing Madame M.
Portrait of a Lady on fire
My blood sure boiled at this revival of the Met’s utterly punchable production of Macbeth.
Et voila l’histoire
To mark Beverly Sills’s 90th birthday (May 25, 1929) “Trove Thursday” offers the late diva’s acclaimed Massenet heroine opposite her ideal Des Grieux, Alain Vanzo.
A talent to a Muse
Use bodily force and get your friends to one of the next five performances of the Met’s new production of Adriana Lecouvreur. It is everything!
Atonement
Sondra Radvanovsky changed my opinion of her through a single performance—I’ll never think of her the same way again; the power of her singing overwhelmed my previous impressions.
Mortal raises veil from before goddess’s face
Anna Netrebko is the greatest performing artist singing opera today. Nobody else comes close; she makes me love her in a way that verges on the erotic.
Quantum leap
Like Julius Caesar before her, Anna Netrebko can rightly proclaim “Veni vidi vici” about her decisive Roman victory at the Metropolitan Opera where she took on her first-ever Tosca.
Final curtain
“Trove Thursday” pays tribute to Dmitri Hrovostovsky with a broadcast of his final new role, Rubinstein’s The Demon.
Gone girl
Anna Netrebko‘s Manon was deeply unforgettable for its wide scope, control, and incredible virtuosity.
Mighty real
Anna Netrebko‘s artistry is both subtle and thrilling.
About a boy
These days a cadre of voluble opera-goers regularly issues dire warnings that anyone about to attend this or that production at the Met should close her eyes and just listen rather than witness yet another Peter Gelb regie “atrocity.”
Winter afternoon’s dream
It took the better part of a decade—including two high-profile cancelations—or New York to finally hear Anna Netrebko in recital.
Il core vi dono
With February 14th falling on a Sunday, there will be no Valentine’s Day Met performance this year.
Out here in the dark
This is the tenth season of the Met’s HD broadcasts, not that I would know it.
The gleam of his smile
A clearly moved Hvorostovsky basked in the moment and momentarily broke character to acknowledge the love.
Door to door
The Met’s planned premiere of Iolanta/Bluebeard’s Castle was cancelled due to the Great Blizzard That Wasn’t.
The year in Corwin
New York City isn’t a bad place to live, operatically-speaking.
The year in Yohalem
My memory is fading but the events I recall most vividly of the last season seem largely to have been concert performances.
Hysterical blondeness
Wednesday brought the Met’s “real” season opener, an indelible, indispensable night at the opera: a starry revival of Verdi’s Macbeth crowned by Anna Netrebko’s demented Lady.
No business like snow business
Pytor Ilyich Tchaikovsky’s Eugene Onegin is his masterwork and its themes of social convention and unrequited longing surely struck a deep chord in a composer who, in late 19th century Russia, was gay and had to conduct himself carefully.
Tonight or Neva
Last night, the Met opened the 2013-14 season with a handsome, fairly conservative new production of Eugene Onegin by Deborah Warner that replaces the handsome, fairly conservative one by Robert Carsen. (The trend is clear.)
First sip
UPDATE: A video preview of the new Elisir follows the jump.
The party’s over
When the hard-partying heroine of Massenet’s Manon hits bottom, she literally lands in the gutter.
The Ironic Lady
Another grim narrative of the Gelb years, and one I think is generally hogwash, is that the Met has (at least in theatrical terms) lost its way entirely.
Donizetti queens report
Today is the dress rehearsal/preview of Anna Bolena at the Met, and naturally La Cieca has infiltrated the event with a veritable phalanx of spies. After the jump: all your latest Anna Netrebko related news.
Evergreen goddess
Every year New York City opera-lovers eagerly anticipate the autumn because it means that summer is finally over and we can get back to serious opera-going, and this September promises “The Battle of the A’s.”
Four for the show
Until Monday evening, I never placed Don Pasquale in my list of favorite operas, but the four principals were so magnificent that I realized just how special an opera can be when it is sung so well. Remember that works like this—Elisir, Ory, Flute, rather than Aida, Forza, etc.—can be performed beautifully today since the […]
By zinka
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La morale in tutto questo?
Don Pasquale is one of those operas that make listeners feel very happy and gay, who, after seeing it, live happily ever after and gayer than before. It’s about a whore who needs to get laid, with an eye on the young (once and still bottom) hunk versus the older (once top, yes you guessed […]
Gualtier tells “Tales”
So, I was asking my friends with Met Opera insider connections about the new Hoffmann production directed by Bartlett Sher. Seemingly conceived under an unlucky star, this production first lost two of its four heroines when Anna Netrebko decided not sing Olympia and Giulietta but kept Antonia and also Stella, leaving the dramaturgy somewhat lopsided.
Gentleman prefers brunettes
It’s no easy easy task to “re-review” one of the most discussed and scrutinized opera productions of the last few years. Mary Zimmerman’s mise-en-scène of Donizetti’s Lucia di Lammermoor has been extensively examined since it was chosen to inaugurate the 2007/08 season of the Metropolitan Opera, provoking very mixed reactions both from the professional critics […]
change partners
One of La Cieca’s most trusted spies wangled his way into the house last night for the surprise cast change in Lucia di Lammermoor, and here’s his report: Perhaps it is the side benefit of low expectations, but I was not offended by Anna Netrebko‘s performance on Tuesday night. Though certainly not a bel canto […]
the morning after
The operatives were busy over the midnight hours: “Act 3 was a mixed bag. The opening showed Villazon in much better form, with solid phrasing. The Mad Scene started out beautiful, Netrebko spinning out haunting legato. She was completely involved and engaged. Then she fell apart at the flute solo, sounding under supported and wavering […]
Le Scandale, 2007 edition
Cher public, La Cieca meant to turn in early tonight, but she got one of those bees in her bonnet. This particular specimen of Apis mellifera is the “debacle” (as La Cieca has been astonished to see it termed) of Anna Netrebko‘s Juliette last Saturday afternoon. Such harsh criticism La Cieca has rarely heard since […]
First Met broadcast of the season
Rolando Villazon not apparently in his very best form but La Cieca is very impressed with a) his willingness to sing out and take chances even when he is less than 100% and b) his well-supported legato that is the basis of even his most vehement singing. Anna Netrebko found a way to interpret Gilda […]
Win a Free Ticket to Opening Night at the Met!
Quinn Kelsey and Lise Davidsen star in the Met's new Macbeth. We're giving away one ticket, so screw your courage to the sticking place and enter now!
I’ll take the fall
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).
