Anna Netrebko has new Verdi role

Anna Netrebko has new Verdi role


norman lebrecht

February 21, 2019

She will sing Elisabetta for the first time in Dresden’s production of Verdi’s Don Carlo next season, opposite her husband Yusif Eyvazov.

They are becoming pretty much inseparable.

Dresden has seven new productions, including a Thielemann Meistersinger and Ligeti’s Le grand macabre, directed by Calixto Bieito.

Offenbach’s Grand Duchess of Gerolstein will be led by the British conductor Jonathan Darlington, music director in Duisburg and Vancouver.



  • Peter says:

    They both need help or start working for Clini clowns or Cirque du Soleil.

  • Vladislav says:

    Why does she keep getting jobs, she is a sexist, possibly racist, and maybe even homophobic, Putin lover who wobbles through everything.

    • norman lebrecht says:

      None of these slurs is true, to my knowledge.

      • Sibylle Luise says:

        Well, Norman, let’s be honest: Her intonation isn’t indeed always to the point, is it?
        For the rest I can’t say anything. I haven’t heard anything homophobic, rassist or sexist from her. Yet … how shall I put it? If she’d say something rassist, sexist oder homophobic, I’d certainly wouldn’t like it. However, it wouldn’t influence my opinion about her as a musician. I think in all areas of art you have to accept that artists aren’t saints. I adored Celibidache’s music, but I would have hated to play in one of his orchestras (as a student I was sometimes in his rehearsals and I really pitied the musicians there). I love Bruckner’s music, but I certainly don’t think I’d have liked him. And Wagner with his antisemitism and his ghastly dealings with “friends”? No, thanks to him as a person, but yes, please to his music …

    • We privatize your value says:

      “Sexist”, why, because she won’t sleep with…. women?

    • Caravaggio says:

      Of these, the worst offender is the ever more pronounced wobble coupled with the new thick, ugly voice and poor technique. The presumed sexism comes in second place. As I have said before, her stardom is due to her own misogyny, she playing it like a fiddle and serving it on a silver platter to her misogynist fanbase. The sad part is none of them even recognize their own misogyny and their role in promoting it.

      • Ms.Melody says:

        I am not a fan of Anna Netrebko. I think she is the most overrated singer of our generation. She never had proper belcanto technique. I have to admit I did like her Tatiana and Adriana. She does wobble and her coloratura has always been ” muddy”. Comparisons have been made to Leontyne Price and even Maria Callas. Ridiculous and absurd and a testament to the sad state of opera. She does however sell tickets and is determined to plough right through from Bellini to Wagner and everything in between. Unfortunately, at the moment, she can do no wrong with any opera house that can get her. I am however puzzled by the accusations of misogyny. Examples please.

      • Sue Sonata Form says:

        I’ve always wondered about Anna Netrebko and why she was ever so popular. She hasn’t impressed me once, though I haven’t seen her in a live performance. She may have been better in her 20s but not so much these days.

    • Mike Schachter says:

      Just because she doesn’t attack Putin the so-called liberal left makes up lies about her, as it does about everyone.

    • Harrumph says:

      More to the point, she’s a crappy singer.

  • Bogda says:

    As it’s coproduction with Salzburg Easter Festival, very likely she’s going to make a debut there opposite someone else. And production will be then transferred to Dresden.

    • Nik says:

      How do you know the production is going to Salzburg first? It could be going there in 2021.
      And what makes you think she’ll be part of it there? Could be a different cast entirely. And if she is, then why not with Evyazov? Do you have inside knowledge or are you speculating?

      • Sibylle Luise says:

        Why not Evyazov? I think the answer is pretty simple: Because he isn’t up to it, at least not on the level I’d expect in such a house.
        In my opinion he’s a rather mediocre singer who wouldn’t have made it into the “big houses” without being Mr Netrebko (but what know I? I’m just a writer …)

        • Nik says:

          But he sang with her in Aida at Salzburg. I know it was the main festival rather than Easter, but if he was considered good enough for one, why shouldn’t he be hired for the other?

  • Martain Smith says:

    Surely her sense of style is pure testament to her artistry – it say it all!

  • Bogda says:

    I’m speculating for sure, but it’s based on past experience with transfer of Salzburg Easter festival productions to Dresden. So far they’ve always had premiere in Salzburg, which is logical as Salzburg Easter Festival is one of the most prominent and prestigious festivals around. Also Thielemann so far in Salzburg was doing one production of Wagner or Strauss and then the year after he’d do one Italian Opera. So that gives me a lot of reasons to speculate that they will do it first in salzburg. Also it’s hard to believe that Netrebko might sing in Dresden but not in Salzburg.
    As for her husband that is pure speculation, but so far many stars from Salzburg did not come to Dresden when production was transferred. (Kaufmann Pagliaci, Harteros Tosca, Fleming Arabella etc)

  • Hanna Nahan says:

    I’d pay VERY good money to see Anna and Yusuf in Le Grand Macabre. I’m not fussy about which roles…