Monday, June 27, 2016
Anna Netrebko has been one of my favorite singers not only because of her amazing voice. What I also admire are her great stage presence, her sense of humor, and her terrific adherence to interpretive excellence. Now Ms. Netrebko will soon be out with a new recording that looks like this: The meaning of Verismo in Opera relates to drawing its themes from real life, and emphasizing natural elements. Its chief exponent was Giacomo Puccini. Here is Ms. Netrebko in a well known scene from “La Traviata”:
Endings (in particular that of James Levine) and beginnings (Anna Netrebko‘s, as a Wagnerian), dominated the list of most popular posts on parterre in the month of May. The present future Paranorma activity The swan never bothered me anyway Schwahnsinn! Trauermarsch Orchids, tiaras, minks, ermines and top hats “This is the biggest flop in the world history of theater, going all the way back to Aristophanes” At sunset Evensong One million dollars!
It appears from the image released above that La Cieca’s fanciful album cover for Anna Netrebko‘s forthcoming “Verismo” disc was not so far off the mark. The press release announcing the September 2 launch of the new CD says: Speaking about her choice of repertoire, Netrebko observes, “I believe I have the voice, knowledge and intuition these roles require. And I put all these things together and worked really very, very hard to try to understand verismo and depict it with a real sense of truth.”
La Cieca’s spies in Dresden (oh, they are legion!) report that there were HD cameras aplenty in the Semperoper at Wednesday night’s performance of Lohengrin, i.e., the one after the free “plazacast” last Sunday. This fact strongly indicates some kind of commercial release of the video, whether on a streaming service such as ARTE or else on disc for DGG (a label at which Anna Netrebko, Piotr Beczala and Christian Thielemann all have contracts, conveniently enough!)
Florence Foster Jenkins, the Hollywood biopic of the eponymous American amateur soprano, opened in UK cinemas this week; American movie-goers have to wait until August before being able to appreciate Meryl Streep’s commanding performance in the title role. Acting performance, that is. You may be new to the legend of FFJ (1868–1944), so we’ll start with a brief introduction to the lady that will also act as a prologue to the focus of this week’s blog. Some of the details of FFJ’s life and recording tally remain a bit fuzzy, but some things about the lady are quite clear: she loved singing, was bad at it, but was rich enough and socially connected enough to be able to bypass the challenges of self-awareness that most of us have to grapple with, projecting herself to the top of a ladder that very few can aspire to. To set the scene, here’s an extract from her recording of the technically demanding Bell Song (8.120711 ) from Delibes’ opera Lakmé. If that was like taking a cold shower in an igloo, let’s refresh by taking a pleasanter dip into the pool of brave ladies who fearlessly strut their stuff, centre stage, before an arena of critical listeners who come to get their tingle factor from fiendishly difficult, high-lying vocal lines dispatched with disarming ease: welcome to the world of the operatic dramatic coloratura soprano. The music that composers wrote with these singers in mind created a select super-class of exponents whose names live on. One who is very much alive, however, is the Chinese soprano, Dilbèr. She was born in Kashgar, a trading centre on the ancient Silk Road, in what is now the Uighur Autonomous Region of Xinjiang in northwestern China. But here she is in the 19th-century world of Italian opera, taking the role of Lisa in Bellini’s La sonnambula (The Sleepwalker) (8.660042-43 ). Spoiler alert: put away all valuable glassware to avoid possible shattering. Last month, the celebrated Russian soprano Anna Netrebko announced that she was pulling out of her engagement to sing the title role of another Bellini opera, Norma, at London’s Royal Opera House later this year. She said that her “voice has evolved in a different direction.” One can sympathise; walking this high-wire role has no hiding place. In contrast, Maria Callas (1923–1977) was a reliable champion of the role, performing it scores of times during her career. Here’s the diva in an extract from a 1953 performance of the aria Cast diva (8.110325-27 ). The German soprano Erna Berger had to endure a difficult and improbable prologue to her career as an opera star. Although her talent was recognised early on, her father decided to move the family to Paraguay where, following his death, the young Erna was forced to take on a job as a governess. She saved up enough money to return to Germany, however, where she studied singing in her spare time and worked in an office to keep the wolf from the door. She was eventually hired by Fritz Busch at the Dresden State Opera before joining the Berlin State Opera in 1934, where she remained for the next twenty years. She excelled in a comprehensive repertoire. Here she sings the Laughing Song (8.110733 ) from Johann Strauss II’s Die Fledermaus. Coloratura passages were often used to colour the evil or demented nature of female characters in opera. Mozart incomparably employed the technique in the role of The Queen of the Night in The Magic Flute (8.660030-31 ). The aria Der Hölle Rache provides a clear example of someone at the extremes of normality, both in vocal technique and character, as sung here by Hellen Kwon. Donizetti’s opera Lucia di Lammermoor (8.660255-56 ) perhaps provides the ultimate for the unhinged in its so-called Mad Scene. Since the work’s première in 1835, the title role has always attracted the top coloratura sopranos of their day. Here is Dilbèr again as the terrified Lucia , bereft of reason, a blood-drenched dagger in hand (short synopsis only here!), leaving the listener thinking that a singer must indeed be insane to tackle such music, in costume, under the lights, and constrained by dramatic demands. And so we end where we began, with Florence Foster Jenkins, who died a few months after she took the leap from giving small-scale entertainments to taking to the stage at Carnegie Hall when, we are told, people were turned away in their thousands and scalpers were raking in their booty. It’s a bittersweet way to end this Thought for the Week, with a reprise of Mozart’s Queen of the Night aria , performed by the Diva of Din. I propose a toast to all eccentrics, everywhere, eternally!
Anna Netrebko withdrew just last week from upcoming Norma productions at both the Metropolitan Opera (opening night, 2017-18) and the Royal Opera (fall, 2016-17). Now the Met has announced what will happen instead. Presumably the ROH, Dallas Opera, and Vienna State Opera (just wait) have done the same. Sondra Radvanovsky replaces Netrebko in the Met opening night 2017-18 production. (In my opinion, this was a predictable and desirable casting, and let me say that Rad was terrific in SF the other year.) She is also singing Leonora in Calixto Bieito's new staging of La Forza del Destino in the same season, which will be her company role debut.For this to happen, the Vienna State Opera released Radvanovsky from her scheduled appearances as the Trovatore Leonora........which will instead be sung by Anna Netrebko. In other words, they are swapping engagements.Netrebko is still singing the Trovatore Leonora and Tosca at the Met in 2017-18.MEANWHILE in London, Sonya Yoncheka (!) will sing Norma at the ROH in the fall of 2016-17. I did not see this one coming.The Met released Yoncheva from scheduled appearances as Mimi in La Boheme so that she could sing Norma in London.Ailyn Perez is available to sing Mimi in the Met performances originally to be sung by Yoncheva.......because she decided to postpone her role debut as Tatiana at the Dallas Opera this fall.Whew! Fast work, y'all. What I want to know (not covered in the Met's four-company press release): when will Sonya Yoncheva sing in San Francisco, and what will she be singing?
Great opera singers