Verdi

When she begins this Verdi recital with Lady Macbeth's letter scene, Anna Netrebko (or her producer) had to be aware that she was putting herself directly against Maria Callas's first Verdi album, where the incomparable Callas stamped this music indelibly with her power, charisma, and dramatic intensity. Throwing down the gauntlet runs the obvious risk of invidious comparison. But I must say that Netrebko triumphs. The dark coloration of her soprano, which began as a lyric voice, now carries real weight and passion. No one is a second Callas, but I haven't heard anything this good in a long time. It must also be admitted that for accurate intonation and evenness of tone from top to bottom, Netrebko outdoes Callas, who had acquired some vocal deficits by the time she made her Verdi album.Add to this much better recorded sound, and everything is set in place for a notable success. One hears a true Verdi dramatic soprano, capable of coloratura as well as power and thrilling intensity. For me, Netrebko's absence of Italianate style has been a problem, and even though her pronunciation doesn't sound like a native, it's as good as any rival on the scene (e.g., Maria Poplavskaya, Karita Mattila, Sondra Radvanovsky). She is developing Mattila's versatility, too, and the tone is similar, with a strong lower range and flashing top notes.With superb confidence Netrebko moves on to another great Callas aria, the Sleepwalking Scene from Macbeth, done with tremendous personality and excellent vocal acting. Not just Callas but Scotto and Tebaldi evoked more tenderness and poignancy in their singing, but once you're comparing Netrebko with such great artists, she has already won the day. Since I admire Noseda's conducting, it's a bit disappointing that he doesn't dig in more - the Macbeth arias seem to skate by a little.In her selection of five heroines, Netrebko has chosen two rarities, Joan of Arc and Elena from I vespri siciliana. Of the other heroines, Leonora from Il trovatore is represented by several arias, Elisabetta from Don Carlos by only one, the stupendous 'Tu che le vanita," which Callas also made her own. It requires the ability to sustain the character while singing at the upper and lower extremes of a soprano's range. Up to now, I've admired how well anja Harteros encompasses it, but Netrebko is stunningly even throughout, a display of vocalism that really does remind one of the Golden Age. I never suspected that she would develop into such all-around excellence, but I'm thrilled that she has. Every opera lover will be deeply grateful.Verdi:Nel dì della vittoria ... Ambizioso spirto ... Vieni t'affretta! ... Or tutti sorgete (Lady Macbeth)Una macchia è qui tutt'ora (from Macbeth)Qui! Qui dove più s'apre libero il cielo (from Giovanna d'Arco)O fatidica foresta (from Giovanna d'Arco)Arrigo! ah, parli a un core (from I Vespri Siciliani)Mercè, dilette amiche 'Bolero' (from I Vespri Siciliani)Tu che la vanità (from Don Carlo)Vanne, lasciami (from Il Trovatore)D'amor sull'ali rosee (from Il Trovatore)Siam giunti ... D'amor sull'ali rosee ... Miserere d'un' alma gia vicina (from Il Trovatore)Tu vedrai che amore (from Il Trovatore)

Reading the glowing reviews for this disc had me wonder if there's just a bit too much hype. After all, we live in an era when record companies issue less and less complete opera recordings (and when they do - they're not really done in the studio, but in concert settings, which is a lot cheaper) and this leaves the opera fans in perpetual state of hunger. We're purchasing more and more remastered recordings even if we already have them in earlier remaster forms or LPs. So I was just wondering if we would swallow pretty much anything these days. (I mean, some of us are purchasing Bocelli's CDs, no?). Well, I was wrong to think that. There's nothing hyped about Anna Netrebko, all the praise heaped on her is completely deserved. What a voice! And what a smart choice of programmé for this disc, too, as it showcases different sides of Netrebko's talent. Several times it demanded both high and low extreme of the voice and she delivered with such apparent ease, it's quite stunning.The voice itself has definitely matured since the days Netrebko sang Natasha Rostova and Juliette. But, like good wine, it became smoother and richer, not looser and shrill like many voices unfortunately become. The lower and middle registers expanded even further, while the top notes are still there, just more refined and focused than before. Most notably, Netrebko's enunciation, which sometimes suffered before, even in her native Russian repertoire, is now on par with the rest of her vocal assets. She has really become the leading dramatic (should I say "spinto"?) soprano of today.The recital starts out with a bang - the high-strung and grueling role of Lady Macbeth. Previously (with the exception of Callas) this role brought to mind mezzos like Cossotto or Verrett. But due to her strong lower registers Netrebko easily copes with the role's tough demands, and her Mad Scene is actually far more effective because of that change from strong & defiant to wounded and ethereal that she's able to demonstrate. This is followed by a beautiful scene from Giovanna D'Arco, a rather neglected early-Verdi work that's brimming with great tunes. Here Netrebko masterfully lightens her voice and makes it "float" ravishingly beautifully. Two arias from "I Vespri Siciliani" (another neglected work, this time from Verdi's mid-period) follow, the second "Merche, dilette amiche" is more familiar to the casual listeners and sometimes referred to as "Bolero". It has some fioritura (or is it coloratura) demands, and here again Netrebko bests her former self - it's very clear and effortless. Elizabetta Valois's great aria "Tu che le vanita" is full of sorrow, as she bids farewell to her youth and hopes, and Netrebko's voice is achingly beautiful and plangent here.Switch gears once again, and meet her Leonora, one of the most beloved heroines in opera. All her Act IV arias along with the famed "Miserere" (with Rolando Villazon, who, just like I described here  Villazon Verdi  sings an imperfect first verse and a perfect 2nd one) are here, making me pine for a complete recording (maybe with Kaufmann and Hvorostovsky?). What a splendid Leonora she is - noble and powerful, yet very vulnerable. I listened to this CD several times and it's unlikely to leave my weekly rotation for quite some time. Don't miss and do yourself a huge favor by ignoring the nay-sayers.

The Blurb overstates the quality of the recording

大好きなアンナ・ネトレプコの一番得意とするヴェルディ。聞き応えがあります♪

Amazing!

ﾈﾄﾚﾌﾟｺの素晴らしい歌声・表現力に感動！ｵﾍﾟﾗに興味のない人にも一度聴いてほしい！

彼女は歌劇会の女王と思います。今後も続くと思います。この美貌と素晴らしい声、最高です