First sip
UPDATE: A video preview of the new Elisir follows the jump.
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
Role Adina
Role Adriana
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!
Role Aïda
Bass desires
Alexander Köpeczi, currently plying leading roles in two operas in Santa Fe and, rumor has it, the life of one prominent soprano, is the object of this week’s Grand Tier Grab Bag.
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.
Role Amelia
Married to their jobs
Ahead of their opening in Don Carlo in Dallas tonight, Christopher Corwin chats with Nicole Car and Étienne Dupuis — and offers a special edition of Chris’s Cache!
Role Amina
Anna one, Anna two
Trove Thursday offers Bellini’s La Sonnambula with Anna Moffo (San Francisco 1960) and Anna Netrebko (Vienna 2006).
Role Anna Bolena
In the midnight tower
On this day in 2011, the Metropolitan Opera opened its season with a new production of Anna Bolena.
Anna squared
I’ve been a big fan of Donizetti’s Anna Bolena since I first heard it on recording and have always felt that it deserved a definitive recorded performance. Here’s a brief tour of why this hasn’t happened. There’s the Bible, also known as the live Scala relay with Callas and Simionato and musical cuts so egregious […]
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.”
Role Antonia, Stella
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.
Role Donna Anna
After dark
The Canadian Robert Carsen would appear to love the theater to the point of fixation.
Behind the red curtain
It was indeed a curious sensation making a late morning trek to East 59th Street, a block devoted to showro0ms for bizarre upscale furniture and lighting fixtures, and then to enter a boutique cinema specializing in Hindi films (the big coming attraction right now is Desi Boyz) — and all this before sitting down in […]
Role Elsa
Tragedy tonight
In May of last year tenor Piotr Beczala and soprano Anna Netrebko sang in Lohengrin for the first time under the baton of Christian Thielemann in his home house at the Staatskapelle Dresden.
Role Elvira
I puritani
Conducted by Patrick Summers; starring Anna Netrebko, Eric Cutler, Franco Vassallo and John Relyea. Transmitted live on January 6, 2007.
Role Gilda
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 […]
Role Gioconda
Thoughts on La Gioconda: the others
Yes, there were other Giocondas if not of quite the same distinction. Chronologically…
Role Giulietta
Not another teen opera
Vincent Boussard’s 2011 take on Bellini’s I Capuleti e i Montecchi returned on Saturday (May 12) to Munich’s Nationaltheater.
Role Iolanta
Door to door
The Met’s planned premiere of Iolanta/Bluebeard’s Castle was cancelled due to the Great Blizzard That Wasn’t.
Role Juliette
Come un bel dì di gennaio
I’ve always had a certain affection for Roberto Alagna.
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 […]
Role Lady Macbeth
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.
Lady first
This revival of Phyllida Lloyd’s 2002 Macbeth production was probably the most anticipated event of the Royal Opera House 2017/2018 season, due mostly to Anna Netrebko’s return to Covent Garden after a three-year absence.
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.
Top of the heap
You will be happy to hear that Michael Fabiano was the unrivaled star of the Richard Tucker Foundation Gala tonight.
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.
Role Lady Macbeth; Butterfly
Fifty shades of gold
Anticipation of events like the Metropolitan Opera’s 50th Anniversary bash turns me back into the newly opera-soused kid who begged his parents to let him watch the highlights of the Bing Gala on the family color television.
Role Leonora
Thoughts on La Forza del destino: recordings
As said at the beginning, I implied I’d rather see Don Carlo(s) and listen to Forza.
Wild horses
This video recording of Il trovatore is sensational for all the right and wrong reasons simultaneously.
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.
Flame war
The role debut of a world-class singer is always a time of great anticipation, hopefully to be followed by celebration, if not unbridled jubilation.
Rule number 11
Cher public, you may remember that about 18 years ago a parterre writer called Dr. Repertoire came up with a handy list of rules for stage directors.
Calpesta il mio cadavere!
This week, Our Own Jungfer Marianne Leizmetzerin turns her vigilant ears to the recent past to take in a performance of Il trovatore featuring Anna Netrebko and Plácido Domingo.
Role Louisa
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.
Role Lucia
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 […]
lucia: two acts
UPDATE: And now the reactions to Act 2: “Villazon continued to struggle. Pushed upper register and passaggio. High notes he seems to accomplish (or in some cases misses) by sheer will of force. Aside from a beautiful legato in the sextet, his voice is very worrisome. Netrebko has bloomed in this act, acuti seemingly in […]
Role Lyudmila
When Pushkin comes to shove
An incoherent production of Ruslan and Lyudmila at the Hamburg State Opera may dispense with the fantastical, but Glinka‘s magic remains.
Role Maddalena
Maddalena scene
This solid if not stellar performance finds our diva in particularly passionate form. Maybe they should have re-titled it Maddalena?
Role Manon
My Verona
It surprises even me how some operas have eluded me in live performance even after lo, these many years. One of them is Gounod’s Roméo et Juliette.
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.
Gone girl
Anna Netrebko‘s Manon was deeply unforgettable for its wide scope, control, and incredible virtuosity.
A page right out of history
“This is obviously a difficult situation. But who knows Hans New Rock, knows his cool and objective aesthetic decision.”
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.
Endless love
“So, how is this new Pavarotti?” or, “This young tenor, what’s his name, I saw him on the morning show, is he any good?” When people who have never set foot inside an opera house—and know Maria Callas chiefly as the woman Aristotle Onassis dumped for Jacqueline Kennedy—start asking me such questions, then I […]
Role Manon Lescaut
Duet to me one more time
Patrick Mack reviews yet another Puccini album from Jonas Kaufmann
Role Marfa
Mad about the Boyar
“Trove Thursday” offers a belated 55th birthday nod to Dmitri Hvorostovsky with a blazing live performance of Rimsky-Korsakov’s The Tsar’s Bride.
Role Mimì
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!”
baby it’s cold outside
At first La Cieca thought this next clip was an excerpt from the film version of La bohème lensed earlier this year in Vienna and currently in post-production. But the director of that film is Robert Dornhelm and (at least as credited) the director for this video is Vincent Paterson. Your doyenne is further not […]
Role Natasha
Final curtain
“Trove Thursday” pays tribute to Dmitri Hrovostovsky with a broadcast of his final new role, Rubinstein’s The Demon.
Il core vi dono
With February 14th falling on a Sunday, there will be no Valentine’s Day Met performance this year.
Role Norina
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.
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.”
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
6 comments
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 […]
Role Tatiana
Through different eyes
I was reminded at the Met’s season premiere of Eugene Onegin Friday night always to expect the unexpected.
Eugene Onegin
Starring Anna Netrebko, Piotr Beczala, Mariusz Kwiecien and Alexei Tanovitski, conducted by Valery Gergiev. From October 5, 2013.
Wien disposition
Following classic recordings documenting the work of Karl Böhm and Herbert von Karajan. Orfeo’s 150 Years Wiener Staatsoper box moves on to new releases that are seeing their first incarnation on an officially available disc.
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.)
Role Tatyana
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.
Role Tosca
Tosca, two ways
When our friends at Naxos and C Major announced near-dueling releases of Puccini’s “shabby little shocker,” I was ready with my critic’s pen dipped in bile.
Charisma and chemistry
For this revival of Tosca Teatro Real has configured several casts with some of the best singers in the world: Sondra Radvanovsky, Maria Agresta, Anna Netrebko, Joseph Calleja, Michael Fabiano, Yusif Eyvazov, Jonas Kaufmann, Carlos Álvarez, Gevorg Hakobyan and Luca Salsi.
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!”
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.
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.
Role Turandot
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!”
Role Violetta
Conspicuous consumption
On Thursday evening, the Teatro alla Scala audience didn’t watch the familiar presentation of a “wayward woman” who overcomes moral inferiority only to be robbed of happiness when she finally deserved it.
Face time
As we look forward to New Year’s Eve and to the gala opening of Willy Decker’s La Traviata at the Met, it seems fitting to look back—by way of the official, live, DVD recording of the production’s sensational world premiere at the Salzburg Festival in 2005—to get some sense of what’s behind all the hype. […]
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).
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!
