Anna Netrebko had not sung Aida since her role debut at the 2017 Salzburg Festival, but judging from her exciting performance here, she could hardly wait to return to the role. It’s as if pent-up urgency found release in a portrayal that is sumptuously intoned, viscerally charged and consummate in musicality. Netrebko’s voice has attained a heft and an ever-so-slightly darker hue that make her unrivalled in Verdi’s classic dramatic roles. She meets squarely every challenge of Aida, not least that of producing a glorious high C in the aria “O patria mia”. And if her portrayal of the Ethiopian princess has gained a new dimension, it is the fevered intensity she brings to confrontational scenes (more here).
… the Russian soprano has rarely sounded better than in the title role of Aida on Wednesday night. There was no trace of the slight wobble that has occasionally crept into her singing. In this performance she showed an unusual focus along with the tremendous vocal power and passionate conviction that are her hallmarks as a performer.
“Ritorna vincitor” was an arresting moment early on, as she threw herself into the scene with abandon. Both here and in “O patria mia,” she showed her gift for playing in the grand style, making a convincing portrait out of the sort of wide gestures that from other singers can come across as over-the-top mugging (more here).
UPDATE: A crtical self-parody in the NY Times:
At this stage of her career, Ms. Netrebko’s voice abounds in richness, depth and dusky colorings. Yet there are still elements of the bloom and sweetness from her days as a lyric. In climactic outbursts, when she summoned all her smoldering power, Ms. Netrebko sent phrases slicing through the brassy orchestra and into the house. Yet in plaintive passages, the melting warmth of her tone and the supple way she shaped long lines held you in thrall.
Kerem Hasan, winner of the 2017 the Nestlé and Salzburg Festival Young Conductors Award, has been named chief conductor of the Tiroler Symphonieorchester Innsbruck, starting a year from now.
A protégé of Bernard Haitink, Kerem has conducted the Concertgebouw in Mahler 9 and is among the conductors who are standing in this season for the sacked music director Daniele Gatti.
The deal was sealed by Enrico Fischer at KDSchmid.
The Dutch prime minister Mark Rutte has posted a picture of himself thanking Pierre Audi for 30 years of running Dutch National Opera.
Really nice.
Na 30 jaar neemt Pierre Audi afscheid als directeur van De Nationale Opera die onder zijn leiding uitgroeide tot een van de toonaangevende operahuizen in de wereld. Vandaag heb ik hem bedankt voor zijn grote verdiensten voor de ontwikkeling van de opera en het muziektheater. pic.twitter.com/5rkmTGTAaJ
Translation: After 30 years, Pierre Audi has retired as director of De Nationale Opera, which under his leadership has grown into one of the leading opera houses in the world. Today I thanked him for his great achievements for the development of the opera and the music theater.
Pentatone have signed Anna Lucia Richter, one of the most versatile German soprano recitalists.
Anyone recognise the arrangement?
The peeps in the line are waiting for a free rehearsal to begin.
Kristin Schuster, former Senior Vice President at IMG Artists, has joined CCM Classic Concerts Management in Turkheim, Germany.
She brings with her for worldwide management the pianist Igor Levit and conductor Antonello Manacorda.
Funny, you hardly ever hear of agents leaving somewhere else to join IMG. Any idea why?
CCM, a boutique management, has Diana Damrau, Philippe Herreweghe and Krzysztof Penderecki on its books.
Berlioz’s Les Troyens, which opens on Sunday, 14 October, marks the first time Joyce Didonato appears in a new production at the Vienna State Opera. In fact, she has only ever sung there twice before – as Rosina in Il barbiere di Siviglia in 2009 and at a solo recital in 2016.
Les Troyens has not been staged at the Staatsoper since 1981.
Joyce sings Dido. Brandon Jovanovich is Enée. Cassandra is played by Anna Caterina Antonacci.
Sir David MacVicar directs (in a co-pro with Covent Garden), Alain Altinoglu conducts.
The City of Birmingham Symphony Orchestra has namedNikolaj Henriques as section leader bassoon.
He has been second bassoon with the Danish National Symphony Orchestra since 2016. He has also played with the Chamber Orchestra of Europe and the Budapest Festival Orchestra. He moves to Brum in January.
Will such moves be possible post-Brexit?
Simon Rattle met Betsy Jolas at a dinner party, not knowing her music at all.
A trawl on Youtube led him to commission A Little Summer Suite, which the LSO will premiere in February.
It’s a busy season for Betsy. Side Roads by Betsy Jolas is coming soon with the Swedish Chamber Orchestra and Gérard Karsten on 18th October in Örebro.
The artistic director of the Jena Philharmonic, Juliane Wandel, has gone.
The orchestra says it is of her own volition, and both sides have committed to non-disclosure.
Wandel is Jena’s third orchestra chief this decade.
Maybe they need new glasses.
The great soprano, 85, is having gallbladder issues.
The Gewandhauskapellmeister Andris Nelsons will make a rare public appearance on his original instrument, the trumpet, when he goes KLASSIK underground in the Moritzbastei Club Leipzig after the official concert this Saturday.
Among other things, Andris will play duos with the night’s soloist Hakan Hardenberger.
