Review: Netrebko’s intense, Eyvazov solid, in Scala’s new Turandot
OperaThe divorcing couple found themselves face to face at La Scala.
Scherzo has a nuanced review by veteran musicologist Paolo Petazzi.
Anna Netrebko’s search for nuances (Turandot) is admirable, as the most interesting vocal interpreter. At her side, Rosa Feola is an intense Liù, but Yusif Eyvazof as Calaf does not go beyond the solid assurance that allows him to sustain some high notes.
Read on here.
Ph. Teatro alla Scala / Brescia – Amisano
” the solid assurance that allows him to sustain some high notes. ”
Damning with faint praise.
I heard him sing Calaf at the Met and this review is right on the money.
I saw the second performance: anyone who can’t hear that this tenor has almost no correct vocal technique, needs to be educated. His placement is very far back, no mask or frontal placement or resonance, already a colorless, leathery ‘quality.’ His upper and higher notes are all spread. He is second-rate and it is a shame that his ex had [has] such blackmail-power over major opera houses, permitting them to agree to hire this tenor. He won’t have any voice left within a couple of years. Terrible.
Did the headline writer not read the quote? Feola is “intense” while Netrebko is merely “interesting”.
Feola is too light for Liù: I could barely hear her in any middle-range [she was almost covered by the light winds at the beginning of ‘Tu che di gel’. Her delivery of text such as ‘Legatemi, straziatemi’ lacked the vocal power to make it work. Liù requires much more substance, not a Norina. Gamba didn’t help any with his crude, loud orchestra.
He doesn’t seem to realize that he is nothing without her.
Rubbish! As long as he does not access so- called Social Media.
He NEVER would have had a career without her. Now he wants to discard her and her son. A pedestrian voice at best and the acting skills of a traffic cop. I hope she crushes him.
Is that the ghost of Lou Ling behind Turandot?
Oh! A genocidal chovinist supporting war criminals is just doing her job. Everything is fine. Let’s just talk about her high notes…
Time that you learnt how to spell in English. The war criminals are in Ukraine, Israel, the US and NATO
I am pleased the review states something that has been on my mind for a while. Netrebko has indeed sought out the nuances and dynamics of such roles as Aida, Adrianna and Forza Leonora. She has a large scale voice now in comparison with the early years of her career , but she doesn’t just blast the audience out of its seat. She works hard on characterization intergrating the ideas of the producer.
There may be imperfections and signs of the voice ageing occasionally . No one is immune to the passing of time , but she brings absolute commitment to her roles. The dedication she brings to her roles can be felt.
That is why folks queue up to get tickets for her performances.
Whatever some folks personal feelings about her are, she has had a grand career which continues despite being disliked and banned from certain theatres.
Make up your own mind it’s available on ARTE until the 12th of July. I think it’s very good and I have recently reviewed the Vienna Turandot in the Edinburgh Music Review.