Netrebko gives sneak preview of her next role

The diva’s practising Abigaille from Nabucco in the privacy of her instagram feed.

 

 

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She’s due to sing the role at the Met for the frst time just under a year from now. Plenty of time to work on it.

 

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  • Dalledu Alletre says:

    Even Callas was smart enough to sing this for one run only, in 1949. There are so many suitable and less damaging roles for Anna Netrebko — Butterfly, Desdemona, Élisabeth (Elisabetta), Amelia (either one), Liza, Norma, Wally, Gioconda, Santuzza, Nedda, Minnie …

  • jay says:

    This yowling must certainly be a joke …..yes ?

    • Eric says:

      She already sounds like an old lady. Anyone with a decent set of ears can hear that this is just awful, but course the fans won’t notice because she is rich and famous so she must be good.

  • Edgar Self says:

    Never mind that, Norman. What role will Mr. Netrebko sing?

    • Lilas Pastia says:

      Two possibilities. Ismaele or Abdallo. Ismaele should be safe enough. Even though Domingo recorded the part for DG, it IS a comprimario part, with no aria. Might actually be a perfect fit for him. Come to think of it: the title part is not very high for a Verdi baritone, so might be a perfect fit for Erwin Schrott. Would make a nice triangle on stage!

  • Michaela says:

    Being discrete is sometimes wisdom at its best.

    • V.Lind says:

      For one that spelling of “discreet” is actually accurate!

      God, the latest word to bite the dust — I can’t think when I last saw it spelled properly in an article.

      • Eric says:

        “Discrete”=separate: “discrete elements in BBC a molecule. You can remember this because the “t” separates the “e’s”.
        “Discreet”= thoughtful, demure, considerate, careful

        Surely she meant “discreet.”

        • V.Lind says:

          Of course she did, as do most of the people who currently spell it “discrete.” I must not have made myself clear.

          I only meant that as she (Netrebko) is doing her practising in lockdown she is actually separate from the company with whom she hopes to perform. I was trying, apparently most unsuccessfully, to make a joke.

      • M2N2K says:

        In this context, “discreet” would probably be more appropriate, as in “keeping private what should not be made public”. It is unfortunate that AN chose to share with the world something that is so far from being impressive in a positive sense.

    • Etic says:

      You mean “discreet”

    • Elizabeth says:

      She is definitely discrete! Maybe not discreet, I wouldn’t know, but discrete – yes, she is.

  • Larry L. Lash / Vienna, Austria says:

    A decent enough start. I wonder if she’s looked into the score deeply enough to know the recitative which precedes this aria ends with a one-octave chromatic run up to a high C and then a two-octave jump down, all in one breath. And then there’s the cabaletta…

    • Helden Sopran says:

      Oh it is so obvious that without the help of a know it all opera aficionado, she’d be totally bereft and unable to read the score she has on her hands, and which she must have perused at least once before she signed the contract with the Metropolitan Opera for the spring 2021. Without your help I’m sure she’d be unable to discern such important matters, as the octave leaps in the recitative, or the all important high Cs in the recitative and [optional] in the cabaletta, after all she has never sung a high C before!

    • Ally says:

      Anna knows what she is doing. Remember rehearse and rehearse it will all come great on the night.

  • deborath says:

    I applaud Mrs. Netrebko for trying, even if she is just trying.. Of course we know the met is salivating for this in a near unknow future…

  • Ally says:

    Known Anna as I do it perfect on the night.

  • Jonathan Sutherland says:

    Frau Eyvazov would appear to have no idea what the role of Abigaille did to the careers of Elena Souliotis and Sylvia Sass. La Netrebko’s operatic trono aurato could well end up similarly tarnished.

    • Helden Sopran says:

      Suliotis had a short career but her recording of Abigaille is stupendous. Sass sang Lady Macbeth, with a voice half, or less, the voice of Suliotis or her idol Callas. I am not aware she sang Abigaille! her career lasted quite a long time, I’d say normal span, perhaps not terribly distinguished, but not shortened by any objective measure. She clearly did not deliver on the initial hype, but her career was what it was, not specially short or damaged. She had the resources she had, and they were not plentiful.

  • Frank says:

    Not very careful social distancing there with her pianist. I hope she’s been tested for Covid-19. I wouldn’t want to be the line of fire near an opera singer at the moment.

  • Jane says:

    Good to see the general histrionics of Slipped Disc commentators in sound health

  • Peter says:

    She sounds awful… as she does in the past years, since taking on stronger repertoire without any real vocal support, “thickening” her voice to be able to get through the roles that she is trying to sing… and she is not even 50 (yet).
    Yes, Russian opera singers tend to have these kind of “big voices”, but in comparison Guleghina sounded like an angel, in perfect control!!!
    Reports about Madame Netrebko should be only written on the other (very amateuresque) blog, where everybody is in awe with everything what she sings and what she cooks 🙂
    The Met has been truly a big joke in the past decade and this is also because they focused on a single (and not really extraordinary, to be polite) singer, which is AN.
    Cheers

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