Baroque music is not the usual province of soprano Anna Netrebko, or contralto Marianna Pizzolato, or conductor Antonio Pappano, or the Orchestra dell'Accademia Nazionale di Santa Cecilia, Roma, so the listener might approach this tribute to the 300th anniversary of Giovanni Battista Pergolesi with some skepticism, but the performers do a terrific job. The orchestra uses modern instruments, so this is never going to be mistaken for a recording by Baroque specialists, but everyone involved approaches the challenge with such sensitivity and such evident excitement that listeners who don't demand absolute adherence to cutting-edge developments in early music practice are likely to be swept up.
This new Traviata belongs near the top of the fine recorded versions of the opera despite a serious vocal problem in the middle. The great news is in the casting of the two lovers: Rolando Villazon's Alfredo is just about perfect. He sings with handsome, shaded tone, great attention to the text–his anger feels as real as his grief and passion–and absolute freedom throughout the range.
It’s no secret that soprano Anna Netrebko is one of opera’s true box office draws: Her performances of Il Trovatore last season were among the few nights the Met was completely sold out. But her new CD, Verismo, reveals she is more than just a star; her performances of arias and scenes from Italian opera highlight an artistry that is both subtle and thrilling.
Saving the best for last in the Richard Strauss anniversary 2014. The world’s most luxurious soprano, Anna Netrebko, sings Richard Strauss’ sumptuous Four Last Songs, accompanied by the Staatskapelle Berlin and Daniel Barenboim. An irresistible, all-star combination.
Two of the biggest names in opera join forces for a live performance from historic Red Square in the heart of Moscow, captured in stunning sound and vision with 18 high definition cameras and 5.1 cinema surround sound. Recorded at a superb live concert on 19 June 2013, Anna Netrebko and Dmitri Hvorostovsky return to their native Russia, singing a brilliant programme of popular arias and duets from some of the world’s best-loved operas, including Tosca, Eugene Onegin, and, celebrating Verdi's bicentenary, Il trovatore.
What makes Anna Netrebko more than just the next Russian soprano? Is it her as direct but not as quite so refined technique, her less restrained but much more effective interpretations, and her intensely expressive but always under control tone? Or is it her distinctively non-Russian vibrato – leaner, cleaner, and with a much tighter focus but just as much power? One has to listen to Netrebko's Russian Album and judge for one's self…