Netrebko will sing her first Turandot in 2 weeks’ time

Netrebko will sing her first Turandot in 2 weeks’ time


norman lebrecht

January 14, 2020

The Bavarian State Opera has confirmed casting for Puccini’s Turandot on January 28.

The title role will be sung by Anna Netrebko, the first time she has attempted it.

The performance is completely sold out.

Eyvazov will sing Calaf.  The conductor is Giacomo Sagripanti.


  • Zvi says:

    And the evening will end with Liu’s death. Alfano is out.

  • Peter says:

    It was confirmed loooong loooong time ago.
    Just a no-news story for slippeddisc

  • V.Lind says:

    Isn’t that picture Callas?

    • Tiredofitall says:

      It is Anna, but they (unfortunately) photoshopped off half of her face. She looks much healthier and beautiful than that. Even in her salad days those cheeks would have been a stretch. Lovely woman and we are lucky.


    Nillson,Corelli what a team and this team wont come anywhere near

  • Araragi says:

    We got a sneak peek of Netrebko’s Turandot at the Metropolitan Opera’s New Year’s Eve gala where she sang the riddle act (fully staged, also with her hubby as Calaf). It was a refreshing, dramatic interpretation that needs a little fine tuning but her high Cs were right in the pocket.

  • John Kelly says:

    Based on what I heard at the Met on New Year’s Eve (where she sang Act 2 only as part of a trio of Puccini “Heroines”) she will be absolutely spectacular. One critic wrote she was the best he’d heard since Nilsson. I myself was really surprised she was as good as she was as I had thought it not really a role she would excel at (she was superb as Tosca some minutes prior). My word, she was outstanding and her husband, though no Corelli (who is?) was also very very good. Yannick had a field day. The orchestra was as ever sensational and the strings sounded like the Phillies in the first act of Tosca………..

    • kaa12840 says:

      totally agree, what a night! Even though my son thought it was like a circus act; but the vocalism was amazing. BTW, the poor husband doesn’t get any respect. He was excellent; there is no point in saying he is not Corelli, he is what ewe have and we should be grateful. The poor guy constantly gets slammed because they think he got the position because of the wife.

    • Peter says:

      Dear, the so-called critic that wrote such stupid comment is most probably under 30 years of age and does not have a clue about opera, he was born with Netrebko on his instagram so she is the only thing he knows… there are so many like him, and they all woke up being “critics”.
      Netrebko’s husband is a mediocre tenor that gets ovations in the US because everybody gets that in the US no matter how bad they sing! Wake up people, don’t let yourselves be drowned into mediocrity!

      • Araragi says:

        Peter – the comment you’re replying to refers specifically to the Met’s New Year’s Eve gala performance, not Netrebko or Eyvazov in general. His post makes it sound like he was there. Unless you were too (and perhaps you were?), your rebuke is baseless. Unless you despise Eyvazov so much you feel entitled to critique performances you didn’t see. I personally was there and found him a very fine Calaf.

  • Eric says:

    Please say it’s not true.

  • Cantantelirico says:

    She carries Gelb’s testicles in a Dolce & Gabbana handbag. She owns the Metropolitan Opera and has for years.

  • Mustafa Kandan says:

    The problem is her performances in Europe sell out before they become available to the general public. I have basically given up.

  • K. Hewlett says:

    I was at the Met’s New Year’s Eve gala, and was most impressed with Netrebko’s Turandot Act 2. While her voice doesn’t have the stentorian power of Birgit Nilsson or Dame Gwyneth Jones, she sang it very well and was very musical and dramatic. I can’t wait to see her do this here at the Met next season, especially after they have foisted the likes of Georke and Stemme on us in Turandot, cackling and whooping their way through the role.

  • Bloom says:

    Terribly overrated from a strict artistic perspective. But also a symbol of operatic power (divaism) nowadays . She is fully aware of this power and how to handle it. Perhaps this is her greatest quality.