Anna Netrebko sings Adriana's Act IV aria in the January 12, 2019, Live in HD transmission. Production: Sir David McVicar. Conductor: Gianandrea Noseda. 2018-19 season.
Это называется коррупция. Администрацию театра просто и пошло коммунистическая гэбня из России купила с потрохами. Нетребко никогда не была музыкантом мирового класса, вся её карьера оплачена гэбней. Очень хотелось бы увидеть суд над продажными подонками.
For all who ask if anyone who criticize her ever heard her sing alive, a good singer will sound good in both live and recordings. Also, this is not Callas' era, recording technology is much advanced now. The manager of the MET even stated that they had to wear a microphone on singers to make livestream performances sound like in the theatre.
But this is precisely the reason why what you hear is not necessarily what you hear in the theater: they're miked from up too close to their own bodies, and that is definitely not how the audiences listen to their voice when it projects and spreads throughout the theater. That's particularly harsh with large-voiced singers, and it also amplifies even minor flaws.
Her chestvoice is better but now more like she’s singing in a big can instead of a weak muffled sound. Higher notes here are not as wobbly as when she sings forte in other roles lately. She should have stayed with lyric roles because she is a big lyric.
Dragan ( or, better, Dragon) The art of opera singing is addressed first and foremost to people who listen. And if majority of these people say " yes" to Anna' s singing , then the mission is accomplished. Nowadays opera is not just " correct/ canonical" singing but also acting and looking. In these 3 categories being inseparable Anna is the best ever actress and singer. If humanity will survive , say, 1000 years, she still will be watched with such a joy as it is characteristhyic of listening to Caruso, Monaco, Lanza, Tebaldi or Callas
Dragon, I am concerned about toxic level production of venom in your panceas. I want to prolong your life...Apparently, you want to die young....God bless...
Dragan, this Bravo Luca is a Met employee my guess, he always defends these 3rd rate Met performances. Now I agree with you about Netrebko, she's rough, pretty wobble and she sounds like baritone now lol
The more concerning things is all the press and strident fans who fall over themselves to convince us that she is a great singer. "I feel like I'm taking crazy pills"
@@dudeforcaster8630 She is not and cannot be spinto soprano and I wonder why Met cast her in all the leading soprano parts, even though her voice is not appropriate: Aida, Lady Macbeth, Abigaile, Turandot, etc. Meanwhile other more talented singers are underrated.
@@mariaruskova6054 Fach doesn't matter. Both Caballe and Freni, pure lyric sopranos, sang the role extremely well. The problem is Netrebko's complete lack of technique.
Beautiful interpretation. By this time in the opera, Adriana is getting ill and desperate and her heart is broken so Anna's interpretation and acting fully reflect that. I was most moved by this aria in the whole opera. Brava, Anna!!!
Now this is HER aria and her moment in this opera, the best fit for her vocal skills, especially her wonderful piano and pianissimo singing. She also employs chest voice very nicely here, and the rise to the forte climax was thrillingly, very well done. I've noticed Netrebko is usually better in the final act than in the first act, some singers are like that, they need to warm up a bit to show their talent to the best effect. Her singing is marvelous here on all levels (vocal, musical, dramatic). If someone listens to this and still thinks she can't sing, I can only say: "sour grapes, just sour grapes". LOL
El problema es que la mayoría escucha sus grabaciones dónde suena maravillosa pero el vivo deja mucho que desear. Esta vez no me gustó y es tan bella el aria que me siento desconcertada.
Interpretazione strepitosa!Vorrei essere fra quelli che l'hanno potuta ascoltare ed applaudire dal vivo,perché la voce di Anna a teatro é stupefacente.
Stupefacente sono le cose che hanno mangiato i professori di questa donna... perche la tecnica vocale.... caprino, vansalva maneuver... sonno horribile dal punto del bel canto... scusame per lo scherzo delli stupefacente LOL
Horrible, las personas que dicen que es genial y que lo hace grandioso han de estar sordas. 🤮 Para mi la mejor interpretación es la de Muzio. Callas y Ponselle igualmente me encanta.
¡No estoy sordo y me parece de las más grandes sopranos del mundo. Y hace una Adriana incomparable, y contemporánea! Si le gusta o no le gusta, no tiene por qué ofender a nadie!!!!!
Sadly,the most dramatic parts like this aria and the ending were underperformed by Mrs.Netrebko ' though she sang better than her disastrous 'Aida' in the same theater on October.Mrs Rachvelishvili set the bar and reminded us how a great prerformance in opera truly is on both occassions.
LOL WRONG!😂.... if you were at the performance you’d know that her Aida was delicious and her Adriana was beyond stunning. Rachvelishvili was just very very loud and actually oversinging and pushing the voice. Netrbeko overpowered her in the house whenever she opened her mouth. Her overtones were so rich and carried to the last square of wall on the Met’s house. When we sings this rep, this well, She remains the greatest soprano in the world.
@@ggrobbins9353 I were at both performances as well as in many more like the tragic Macbeth she has sang a couple of years ago.Though her lower voice is better suited than before,my opinion is that Mrs.Netrebko is the most overrated singer of the last two decades.She lacks taste and expression,the abandon a singer needs to bring a character to life.Taste in voices can vary though her laughing comment in 'Aida' that the heroine sings "40 times differently 'pietà' " shows her lack of knowledge and understanding for the roles she undertakes. Currently,the theaters have issued that the 'star' singers should sing everything.That is not the case as we've heard in last month's problematic 'Traviata' with Mrs.Damrau.There is a plethora of excellent young sigers,better suited, that should be given the step to explore and be on the stage.I'm bored to have to see Mrs.Netrebko's showing her gorilla teeth once again on stage. Personally,I'm more dissapointed than excited.And opera is a place that could and should be exciting!
@@mariosnizamis7475 The ''gorilla teeth'' comment just shows how uncultured, vapid and lacking of any kind of argument your comment is. And your world salad doesn't help your case. BTW; Could you please give me an example of the ''plethora of young singers more suited than Netrebko''? Thank you in advance.
@@Missedtrain-gu1fh @Bravo Luca Challenge accepted.I have been trained as an opera singer and studied History of Arts and Music - in particular.Indeed, the 'gorilla teeth' may seem bland as a comment but it's a reality and it's a stress on a bad technique [not useful and deforming].In fact Mrs.Netrebko used to show her teeth when singings an awful lot of times in the past - as you can see in past videos - and that in recent years she seems to have taken notice and reduced it.[Have you ever seen Mrs.Norman with her huge cave of a mouth ever showing her teeth?Never.]Thus said,Jessye Norman is just an example in the vast majority of singers,singing properly ; when Norman was simply astounding. Should you make a search on youtube you can find yourself a lot of other ladies that could be more known in the States.I could name Anja Harteros,who happens to have a video with 'Poveri fiori',that is Jona's Kaufmann sidekick in Europe and a well respected singer on her own.A young contender could be Aida Garifullina as well as Nadine Sierra and Anita Hartig that are already appearing on the Met stage.Last year's Sonya Yoncheva was a refreshing change and what an a actress she is!Pretty Yende is a pretty interesting artist and a welcome new face and have you ever heard of Angel Blue?And there are so many more... Should you were born in 1981 I'd say that we're on the same age.I have learnt to listen and love the opera from the radio in the early '90's and particularly Maria Callas.The thing is that the voice itself should be an entity on its own.When I heard to Callas's voice I never needed to know what she was singing or what she was saying since I could feel it through.As it has been characterized she can live up the theater in one's mind. For me,especially the finale of Adriana was such a turndown for I could see,hear and feel that Mrs.Netrebko was singing and not feeling,being the character.On October I was on my nerves at the end of 'Aida' for I felt that I was cheated.One of the most grandiose operas ever written was ruined due to the ill fitting ruling pair.If Aida and Radames are not in shape what can a splendid Amneris,orchestra and chorus save?Some, but that's not the reason we go to the opera.It's no wonder that opera sets with lesser known names are a marvel. I know that just being an opera singer is an accomplishment on its own.Though,when your name is being imposed as a 'Superstar Diva' the scrutiny is on and hot.As opposed with the 50's where there was the 'Primadonna Assoluta',that was referring to the theater,today the 'Superstar' goes to the bussiness.Opera goes certainly bussiness on management terms but is the trickiest of Arts on stage.That is never to be forgotten. Μrs.Netrebko was wise enough to decline an english 'Norma' and I can only hope to be more so in the future. ps.You can listen to Callas and Magda Olivero's take on 'Poveri fiori' as two Adrianas who do honestly lament over a bouquet of violets.The first just once in the studio,the latter being the favourite Adriana for 5 decades with the approval of Cilea himself.
@@mariosnizamis7475 Thank you so much for your considerate and sensitive reply! It's a pity that you did not use such a constructive tone earlier but hopefully, we could finally have a true discussion from now on. 1) ''Indeed, the 'gorilla teeth' may seem bland as a comment but it's a reality and it's a stress on a bad technique [not useful and deforming].'' -OK I understand, but the ''gorilla teeth'' comment still comes out as incredibly offensive, at least to me. That said, I would tend to agree with you that Netrebko's technique is far from ideal in many circumstances. 2) ''Thus said,Jessye Norman is just an example in the vast majority of singers,singing properly ; when Norman was simply astounding.'' -Yes, except when she sang Hoffman's Julietta (bafflingly horrible), Carmen (extremely mannered)....That said, she is a great artist indeed, just not my cup of tea (the relatively inert diction, the monochromatism of her voice). A Salomé for the ages. 3) '' Anja Harteros,who happens to have a video with 'Poveri fiori',that is Jona's Kaufmann sidekick in Europe and a well respected singer on her own.'' -Erm no. Harteros' voice is increasingly unsteady, monochromatic and has few nuances. Her phrasing manages to be both mannered and lazy. And I'm not even talking about vocal size per se: Netrebko has far more heft and a much better projection (BTW, I heard them both). Harteros used to have relatively great piani but she seems to have difficulties with that now, unfortunately. (PS: I can't stand Kaufmann's singing. I'm not going to opera to hear Kermit the Frog after all. ) 4) ''.A young contender could be Aida Garifullina as well as Nadine Sierra and Anita Hartig that are already appearing on the Met stage'' -Sierra is a run of the mill young singer with a weak low register, indistinctive vocal color and poor vocal projection. Her coloratura and passagework is surprisingly inaccurate (she is still nowhere near Peretyatko in terms of awfulness though). More worryingly, she has all the dramatic and emotional prowess of a sleepy kitten on a bad day. I wish her well but I'm not sure that she would be able to develop beyond that. Aida Garifullina is much more promising in every respect. She could really become a major star in future years. I'm not familiar with Harting's work so I won't comment. 5) ''.Last year's Sonya Yoncheva was a refreshing change and what an a actress she is!'' -Yes, she is a great actress and a sensitive endearing artist. But she also has a defective technique and she is already displaying significant vocal issues. And while she can be quite thrilling in artistic terms, she is far from being particularly unique in that respect. For instance, I was struck by how much Hibla Gerzmava surpassed her in Don Carlo (she was part of the B cast in Paris last year) not only vocally, but also dramatically. 6) ''Pretty Yende is a pretty interesting artist and a welcome new face and have you ever heard of Angel Blue?'' -I'm afraid I do not see where Yende's artistry lies but to each his/her own. I'm looking forward to ''discover'' Angel Blue though, thank you for the tip! 7)''And there are so many more...'' -As it turns out, none of the singers you cited surpass Netrebko in purely vocal terms. Netrebko has a wider vocal range, a richer palette of colors, a much more solid lower and higher register and more vocal heft and projection. Her voice is also much bigger and she is able to scale, nuance and shade her vocal line unlike the singers you just mentioned. 8) ''Should you were born in 1981 I'd say that we're on the same ageI have learnt to listen and love the opera from the radio in the early '90's and particularly Maria Callas.The thing is that the voice itself should be an entity on its own.When I heard to Callas's voice I never needed to know what she was singing or what she was saying since I could feel it through.As it has been characterized she can live up the theater in one's mind.'' -Our experiences (and age!) are quite similar as it turns out. ;-) I also fell in love with Opera by listening to Callas records when I was a child. And as you so eloquently said, I could feel everything when she sang, even if I had no clue what it was about at the time. I then had a period of relative disinterest in my teens (I became interested in medieval and baroque music instead and this interest remains to the present day). But then I ''discovered'' Corelli and became a die-hard opera fan from then on. .-) 9) ''For me,especially the finale of Adriana was such a turndown for I could see,hear and feel that Mrs.Netrebko was singing and not feeling,being the character'' -But this is purely subjective isn't it? I for instance, I don't have this impression at all. This does not mean that my experience is more valid than yours: it just means that inevitably, different artists appeal to different people. 10) ''On October I was on my nerves at the end of 'Aida' for I felt that I was cheated.One of the most grandiose operas ever written was ruined due to the ill fitting ruling pair.If Aida and Radames are not in shape what can a splendid Amneris,orchestra and chorus save?'' -No, just no. This is where subjectivity ends and when objective aspects should be considered. Regardless of your misgivings about Netrebko's voice and artistry, you jut cannot put her in the same category as Antonenko who during the Aida run, was a vocal disaster from start to finish. And Netrebko was definitively NOT a vocal disaster. I wonder why you decided to even compare the two. 11) ''As opposed with the 50's where there was the 'Primadonna Assoluta',that was referring to the theater,today the 'Superstar' goes to the business.'' -I agree. This is why so many young singers burn out so soon: they are given a ''popular'' demanding repertory before they had the time to develop their technique. As a result, the voice cannot sustain the pressure and eventually breaks (I feel unfortunately, that Yoncheva is heading in this direction). Even more established singers take roles which they have no business singing in the first place. Harteros for instance, does not have the vocality for Forza's Leonora (she is definitively NOT a spinto !) but she was still billed with Kaufmann (another sad case) as the ''dream team'' in München. 12) ''you can listen to Callas and Magda Olivero's take on 'Poveri fiori' as two Adrianas who do honestly lament over a bouquet of violets..The first just once in the studio,the latter being the favourite Adriana for 5 decades with the approval of Cilea himself'' -They do far more than ''honestly lament over a bouquet of violets'' but I digress.;-) I tend to prefer live recordings (even in bad sound) over studio ones so the Olivero live recording in Naples is one of my favorite (it has Corelli and Bastianini in it !). I also like the Tebaldi-Corelli live recording at the Met (it was 1964 I believe) as Corelli was completely on fire there. And no, I'm not comparing Netrebko's rendition to Callas and Olivero's. This would be absurd.
Dragon, I am also old ( above 70) . Full professor, with 120 published papers and monograph of 500 pages long.In world ranking in science I am in 2.5% from the very top. So, I' ve seen places and people. To call somebody stupid is a signature of never belonging to nobility. Accordingly, your statements are just selfadvertizing. You are using Netrebko for selfpromotion. No more.This is typical for people of no personal accomplishments.
this is at the end of the opera, on an open stage and not in a record studio. for sure she was tired and it was very difficult to sing for her. because you have to go from pianissimo to crescendo.......opera singer like me knows how difficult this is, especially at the end of an opera, especially on a big stage like MO. of all these circumstances i would accept it as a very good performance - this aria.
@@yasherkavanilla LIVE at CINEMA is not live, but contradiction.You can't make cinematic sound without microphon.And mic you can turn up ... a lot....as you know :-)
Dame Joan Sutherland sang this with such depth and feeling it broke your heart. This rendition makes me want to vomit. She's ruined her voice. She's out of tune and she desperately needs to retire
Oh look, another hive of keyboard warriors in their natural habitat, taking great pleasure in ragging on lead singers at one of the greatest opera houses on the planet.
Exactly. And what is funniest is that these people who are supposedly experts have all the free (useless) time to (supposedly) watch all the videos and write comments in all of them even if they always stress how awful, irrelevant, unskilled, untalented the singer in fact is.I think having such passionate detractors says a lot about the actual artistic relevance of a singer like Netrebko... but it says even more about the mental health and lifestyle of the detractors themselves.
I'm sorry but... have you ever listen to her singing carmen.... ? And so many other operas... if you search you will find... i'm sorry but this is the truth of modern opera :(
@Bravo Luca Seems you didn't go to opera in the days when singers were at times loudly boooed. Every singer is indeed different but that does not deny anyone the right to compare. Or has political correctness at the MET reached such a base level that discretion or critique is out of bounds and everyone is just monotonously 'absolutely fabulous'.
That her voice would lose some of its limpid youthfulness is nothing but unsurprising considering that she is approaching 48 years old. But I think the word "premature" is quite nonsense to describe her present vocal state. What is premature about it? Netrebko has had an international operatic career singing important roles (like Susanna and Lyudmila at first) since 1994. She's about to complete 25 years on the stage singing a huge repertory (and not singing comprimario parts). With 25 years of career, Tebaldi's voice was also quite "usurata" in 1969, Callas and Ricciarelli did not have a career anymore, most sopranos would have lost the freshness of their younger prime and would be starting to show signs of vocal aging. That's just what happens to most singers, even the greatest.
@@aprendizercomygor Bull shit.With proper technic, the voice is not ruined after 25 years of work. Wrong reperotire and pushing voice is the reason vor vocal decline.
@@BernardaBobro So Tebaldi, Varnay, Caballé and so many other sopranos had wrong repertory and pushed their voices? Because the fact is that after 25 years of work they were still superb, but had clearly diminished vocal resources and a more aged voice. Netrebko is clearly in the same phase: not crashing, but starting a gradual decline. Voices evolve through time, her voice clearly couldn't keep singing Adinas and Susannas after 2011-2012, she simply had to change her repertory (even though some of her choices were bad, but not most). No, 25 years of singing career is more than the entire career of some sopranos, and a large part of them are done with singing after some 30 years of work. You're taking the exceptions to be the rule, but few sopranos really had amazingly well preserved voices after some 40 years of singing career.
@@aprendizercomygor Just listen Netrebko when she was 20,30,40 and now....and think about how she sounds.And than what happend to reach this kind of sound.There's is not such a thing as FACH and Fach change.The singers voice can just get stronger with more wisdom or get bad with wrong decisions.Anna made very bad ones.She is exactly the same lyric voice as she was before,singing Turandot,Leonore etc. now.That is just wrong for her voice.No rocket science.As a singer I can tell you: with 48 the body of a singer is in great shape and power.Not in decline.BUT of course, you have to work on you voice and keep it fresh.Anna is been screeming for years.No wonder....
She gets away with much because her essentially lyric soprano is dark and gleaming enough. The entire aria is over sung as she has neither the natural volume or carrying power to go where she wished it to naturally. So it becomes rather awkward with some threaded coarseness and wobbling and intonation issues going on. The role is very hammy and is often done by older sopranos as it doesn’t demand perfection of coloratura or range really. This was a decent performance but yeah it’s a bit “faked”.
I was thinking a bit further about geteral traits of all negators. They all say the same thing: this is not good and that is not good. But Never they bring examples of what they consider as good. Say, in our times, if some think that Netrebko is not good, fine. But then who is better her at this moment?Not 40-60 years ago?Since opera is visual art directors of all opera theaters worry about the revenue. If somebody is critical, let him/ her spell out name of other singer who would bring more cash to this or that opera house. The same critics will then say that the majority is not an argument. Fine, then in what other field of human activity opinion of majority is discarded? Pop singers make 10 times more money than Netrebko...What does this mean? I let critics of Netrebko to answer this question
How can someone like this? Oh, ignorance...
Poveri orecchie.
She aint not Tebaldi or Olivero that's for sure. Sorry this role calls for a real spinto voice.
Not just that real technique
It remains unclear how the theater management could release the singer on the stage in such a state of voice.
It is your right@Bravo Luca
with pride! some love some don't. I do! @@Andrey.Zoege.von.Manteuffel
Это называется коррупция. Администрацию театра просто и пошло коммунистическая гэбня из России купила с потрохами.
Нетребко никогда не была музыкантом мирового класса, вся её карьера оплачена гэбней.
Очень хотелось бы увидеть суд над продажными подонками.
Che disastro
She is amazing!
For all who ask if anyone who criticize her ever heard her sing alive, a good singer will sound good in both live and recordings. Also, this is not Callas' era, recording technology is much advanced now. The manager of the MET even stated that they had to wear a microphone on singers to make livestream performances sound like in the theatre.
But this is precisely the reason why what you hear is not necessarily what you hear in the theater: they're miked from up too close to their own bodies, and that is definitely not how the audiences listen to their voice when it projects and spreads throughout the theater. That's particularly harsh with large-voiced singers, and it also amplifies even minor flaws.
Orribile interpretazione di una bellissima romanza! La voce è addirittura baritonale, fin che va bene agli americani!
Chi sono accordo! Sí, ASSOLUTTAMENTE.
That's quite a feat, not a single note is in tune with anyone before or after, also, hollow, wobbly, and musically inert.
lol agree :)
Agreed
si, e' vero - tutto purtroppo e' finito !
quel gâchis !
oh mamma mia...
Her voice is tired.
Her voice is throaty and woofy.
Yes, these flowers are really poveri fiori when they hear Netrebko!
🤣🤣🤣🤣
Voce intubata.... orribile, mi domando come si fa a dire che canta bene
Ahahahahaha! I love you, my friend! Best comment ever!
to be honest? horrific...i love this aria so much and she killed it dead. i can't believe people had to pay to see this.
Listen to Joan Sutherland singing it. It's absolutely beautiful
@@crazyorganist1609 No, Caballe or Tebaldi.
I know it's probably Michonnet but why is J.S. Bach sitting suffering through this?
horrible!
Her chestvoice is better but now more like she’s singing in a big can instead of a weak muffled sound.
Higher notes here are not as wobbly as when she sings forte in other roles lately.
She should have stayed with lyric roles because she is a big lyric.
Bravo Luca Be happy that you don’t hear it then...
Dragan ( or, better, Dragon) The art of opera singing is addressed first and foremost to people who listen. And if majority of these people say " yes" to Anna' s singing , then the mission is accomplished. Nowadays opera is not just " correct/ canonical" singing but also acting and looking. In these 3 categories being inseparable Anna is the best ever actress and singer. If humanity will survive , say, 1000 years, she still will be watched with such a joy as it is characteristhyic of listening to Caruso, Monaco, Lanza, Tebaldi or Callas
arkady kholodenko
You already lost this when calling me another name.
Anna is not a very good singer.
Be happy you enjoy her flaws.
Dragon, I am concerned about toxic level production of venom in your panceas. I want to prolong your life...Apparently, you want to die young....God bless...
Dragan, this Bravo Luca is a Met employee my guess, he always defends these 3rd rate Met performances. Now I agree with you about Netrebko, she's rough, pretty wobble and she sounds like baritone now lol
Solo la Olivero sapeva come squassare gli animi del pubblico!
yes 👏🏼
Oh, please! Olivero was incredibly overrated with a hollow sound devoid of any color and nuance
I have no words, only tears of gratitude for this divine performance...
We are living in a fairy tale, "The King's New Clothes". And there isn't a kid to shout that Netrebko cannot sing.
The more concerning things is all the press and strident fans who fall over themselves to convince us that she is a great singer. "I feel like I'm taking crazy pills"
@@dudeforcaster8630 She is not and cannot be spinto soprano and I wonder why Met cast her in all the leading soprano parts, even though her voice is not appropriate: Aida, Lady Macbeth, Abigaile, Turandot, etc. Meanwhile other more talented singers are underrated.
@@mariaruskova6054 Fach doesn't matter. Both Caballe and Freni, pure lyric sopranos, sang the role extremely well. The problem is Netrebko's complete lack of technique.
No! No! No! Montserrat Caballe FOREVER! JUST MONTSY!!! ❤️
Beautiful interpretation. By this time in the opera, Adriana is getting ill and desperate and her heart is broken so Anna's interpretation and acting fully reflect that. I was most moved by this aria in the whole opera. Brava, Anna!!!
Braavaaaaa Netrebko!!!!
I have so much admiration for her artistry and work. Brava.
Veramente terribile e' questa interpretazione.
Now this is HER aria and her moment in this opera, the best fit for her vocal skills, especially her wonderful piano and pianissimo singing. She also employs chest voice very nicely here, and the rise to the forte climax was thrillingly, very well done. I've noticed Netrebko is usually better in the final act than in the first act, some singers are like that, they need to warm up a bit to show their talent to the best effect. Her singing is marvelous here on all levels (vocal, musical, dramatic). If someone listens to this and still thinks she can't sing, I can only say: "sour grapes, just sour grapes". LOL
У. Анны уникальный талант. Она.достойна всех похвал, великолепная актриса.
Qué mal está envejeciendo esta mujer. En todos los sentidos.
Forse dopo, ma l'inizio inascoltabile
El problema es que la mayoría escucha sus grabaciones dónde suena maravillosa pero el vivo deja mucho que desear. Esta vez no me gustó y es tan bella el aria que me siento desconcertada.
SIUUUUUUUUU
Interpretazione strepitosa!Vorrei essere fra quelli che l'hanno potuta ascoltare ed applaudire dal vivo,perché la voce di Anna a teatro é stupefacente.
Stupefacente sono le cose che hanno mangiato i professori di questa donna... perche la tecnica vocale.... caprino, vansalva maneuver... sonno horribile dal punto del bel canto... scusame per lo scherzo delli stupefacente LOL
Certo che hai bisogno veloce di un un'otorino
Horrible, las personas que dicen que es genial y que lo hace grandioso han de estar sordas. 🤮
Para mi la mejor interpretación es la de Muzio. Callas y Ponselle igualmente me encanta.
Estoy de acuerdo. Las interpretaciones de Muzio y Ponselle me hacen querer llorar. Esta también me hace querer llorar, pero en otro sentido xD
Infame, el compositor debe estar revolviéndose en su tumba. La peor Adriana que he escuchado.
Why she always act the high notes as she was in a vampire movie … her voice is wonderful though .
Non è Adriana, per niente, mi spiace, ma per me è cosi
Wauuuuuuuuuuuuu que emocionante. Hermosa interpretación
Incredible Anna⚜️💎⚜️💎⚜️
¡No estoy sordo y me parece de las más grandes sopranos del mundo. Y hace una Adriana incomparable, y contemporánea! Si le gusta o no le gusta, no tiene por qué ofender a nadie!!!!!
Callas for ever.
homero aguilar relic
Never sang Adriana Lecouvreur on the stage. If you were truly a fan of Callas you would know that.
Maravillosa
Terrible, yes agree
Terribile. Inammissibile.
Великая! АРТИСТ!
So gorgeous!!
Sadly,the most dramatic parts like this aria and the ending were underperformed by Mrs.Netrebko ' though she sang better than her disastrous 'Aida' in the same theater on October.Mrs Rachvelishvili set the bar and reminded us how a great prerformance in opera truly is on both occassions.
LOL WRONG!😂.... if you were at the performance you’d know that her Aida was delicious and her Adriana was beyond stunning. Rachvelishvili was just very very loud and actually oversinging and pushing the voice. Netrbeko overpowered her in the house whenever she opened her mouth. Her overtones were so rich and carried to the last square of wall on the Met’s house. When we sings this rep, this well, She remains the greatest soprano in the world.
@@ggrobbins9353 I were at both performances as well as in many more like the tragic Macbeth she has sang a couple of years ago.Though her lower voice is better suited than before,my opinion is that Mrs.Netrebko is the most overrated singer of the last two decades.She lacks taste and expression,the abandon a singer needs to bring a character to life.Taste in voices can vary though her laughing comment in 'Aida' that the heroine sings "40 times differently 'pietà' " shows her lack of knowledge and understanding for the roles she undertakes.
Currently,the theaters have issued that the 'star' singers should sing everything.That is not the case as we've heard in last month's problematic 'Traviata' with Mrs.Damrau.There is a plethora of excellent young sigers,better suited, that should be given the step to explore and be on the stage.I'm bored to have to see Mrs.Netrebko's showing her gorilla teeth once again on stage.
Personally,I'm more dissapointed than excited.And opera is a place that could and should be exciting!
@@mariosnizamis7475 The ''gorilla teeth'' comment just shows how uncultured, vapid and lacking of any kind of argument your comment is. And your world salad doesn't help your case.
BTW; Could you please give me an example of the ''plethora of young singers more suited than Netrebko''? Thank you in advance.
@@Missedtrain-gu1fh @Bravo Luca
Challenge accepted.I have been trained as an opera singer and studied History of Arts and Music - in particular.Indeed, the 'gorilla teeth' may seem bland as a comment but it's a reality and it's a stress on a bad technique [not useful and deforming].In fact Mrs.Netrebko used to show her teeth when singings an awful lot of times in the past - as you can see in past videos - and that in recent years she seems to have taken notice and reduced it.[Have you ever seen Mrs.Norman with her huge cave of a mouth ever showing her teeth?Never.]Thus said,Jessye Norman is just an example in the vast majority of singers,singing properly ; when Norman was simply astounding.
Should you make a search on youtube you can find yourself a lot of other ladies that could be more known in the States.I could name Anja Harteros,who happens to have a video with 'Poveri fiori',that is Jona's Kaufmann sidekick in Europe and a well respected singer on her own.A young contender could be Aida Garifullina as well as Nadine Sierra and Anita Hartig that are already appearing on the Met stage.Last year's Sonya Yoncheva was a refreshing change and what an a actress she is!Pretty Yende is a pretty interesting artist and a welcome new face and have you ever heard of Angel Blue?And there are so many more...
Should you were born in 1981 I'd say that we're on the same age.I have learnt to listen and love the opera from the radio in the early '90's and particularly Maria Callas.The thing is that the voice itself should be an entity on its own.When I heard to Callas's voice I never needed to know what she was singing or what she was saying since I could feel it through.As it has been characterized she can live up the theater in one's mind.
For me,especially the finale of Adriana was such a turndown for I could see,hear and feel that Mrs.Netrebko was singing and not feeling,being the character.On October I was on my nerves at the end of 'Aida' for I felt that I was cheated.One of the most grandiose operas ever written was ruined due to the ill fitting ruling pair.If Aida and Radames are not in shape what can a splendid Amneris,orchestra and chorus save?Some, but that's not the reason we go to the opera.It's no wonder that opera sets with lesser known names are a marvel.
I know that just being an opera singer is an accomplishment on its own.Though,when your name is being imposed as a 'Superstar Diva' the scrutiny is on and hot.As opposed with the 50's where there was the 'Primadonna Assoluta',that was referring to the theater,today the 'Superstar' goes to the bussiness.Opera goes certainly bussiness on management terms but is the trickiest of Arts on stage.That is never to be forgotten. Μrs.Netrebko was wise enough to decline an english 'Norma' and I can only hope to be more so in the future.
ps.You can listen to Callas and Magda Olivero's take on 'Poveri fiori' as two Adrianas who do honestly lament over a bouquet of violets.The first just once in the studio,the latter being the favourite Adriana for 5 decades with the approval of Cilea himself.
@@mariosnizamis7475 Thank you so much for your considerate and sensitive reply! It's a pity that you did not use such a constructive tone earlier but hopefully, we could finally have a true discussion from now on.
1) ''Indeed, the 'gorilla teeth' may seem bland as a comment but it's a reality and it's a stress on a bad technique [not useful and deforming].''
-OK I understand, but the ''gorilla teeth'' comment still comes out as incredibly offensive, at least to me.
That said, I would tend to agree with you that Netrebko's technique is far from ideal in many circumstances.
2) ''Thus said,Jessye Norman is just an example in the vast majority of singers,singing properly ; when Norman was simply astounding.''
-Yes, except when she sang Hoffman's Julietta (bafflingly horrible), Carmen (extremely mannered)....That said, she is a great artist indeed, just not my cup of tea (the relatively inert diction, the monochromatism of her voice). A Salomé for the ages.
3) '' Anja Harteros,who happens to have a video with 'Poveri fiori',that is Jona's Kaufmann sidekick in Europe and a well respected singer on her own.''
-Erm no. Harteros' voice is increasingly unsteady, monochromatic and has few nuances. Her phrasing manages to be both mannered and lazy. And I'm not even talking about vocal size per se: Netrebko has far more heft and a much better projection (BTW, I heard them both). Harteros used to have relatively great piani but she seems to have difficulties with that now, unfortunately.
(PS: I can't stand Kaufmann's singing. I'm not going to opera to hear Kermit the Frog after all. )
4) ''.A young contender could be Aida Garifullina as well as Nadine Sierra and Anita Hartig that are already appearing on the Met stage''
-Sierra is a run of the mill young singer with a weak low register, indistinctive vocal color and poor vocal projection. Her coloratura and passagework is surprisingly inaccurate (she is still nowhere near Peretyatko in terms of awfulness though). More worryingly, she has all the dramatic and emotional prowess of a sleepy kitten on a bad day. I wish her well but I'm not sure that she would be able to develop beyond that.
Aida Garifullina is much more promising in every respect. She could really become a major star in future years.
I'm not familiar with Harting's work so I won't comment.
5) ''.Last year's Sonya Yoncheva was a refreshing change and what an a actress she is!''
-Yes, she is a great actress and a sensitive endearing artist. But she also has a defective technique and she is already displaying significant vocal issues. And while she can be quite thrilling in artistic terms, she is far from being particularly unique in that respect. For instance, I was struck by how much Hibla Gerzmava surpassed her in Don Carlo (she was part of the B cast in Paris last year) not only vocally, but also dramatically.
6) ''Pretty Yende is a pretty interesting artist and a welcome new face and have you ever heard of Angel Blue?''
-I'm afraid I do not see where Yende's artistry lies but to each his/her own. I'm looking forward to ''discover'' Angel Blue though, thank you for the tip!
7)''And there are so many more...''
-As it turns out, none of the singers you cited surpass Netrebko in purely vocal terms. Netrebko has a wider vocal range, a richer palette of colors, a much more solid lower and higher register and more vocal heft and projection. Her voice is also much bigger and she is able to scale, nuance and shade her vocal line unlike the singers you just mentioned.
8) ''Should you were born in 1981 I'd say that we're on the same ageI have learnt to listen and love the opera from the radio in the early '90's and particularly Maria Callas.The thing is that the voice itself should be an entity on its own.When I heard to Callas's voice I never needed to know what she was singing or what she was saying since I could feel it through.As it has been characterized she can live up the theater in one's mind.''
-Our experiences (and age!) are quite similar as it turns out. ;-)
I also fell in love with Opera by listening to Callas records when I was a child. And as you so eloquently said, I could feel everything when she sang, even if I had no clue what it was about at the time. I then had a period of relative disinterest in my teens (I became interested in medieval and baroque music instead and this interest remains to the present day). But then I ''discovered'' Corelli and became a die-hard opera fan from then on. .-)
9) ''For me,especially the finale of Adriana was such a turndown for I could see,hear and feel that Mrs.Netrebko was singing and not feeling,being the character''
-But this is purely subjective isn't it? I for instance, I don't have this impression at all. This does not mean that my experience is more valid than yours: it just means that inevitably, different artists appeal to different people.
10) ''On October I was on my nerves at the end of 'Aida' for I felt that I was cheated.One of the most grandiose operas ever written was ruined due to the ill fitting ruling pair.If Aida and Radames are not in shape what can a splendid Amneris,orchestra and chorus save?''
-No, just no. This is where subjectivity ends and when objective aspects should be considered. Regardless of your misgivings about Netrebko's voice and artistry, you jut cannot put her in the same category as Antonenko who during the Aida run, was a vocal disaster from start to finish. And Netrebko was definitively NOT a vocal disaster.
I wonder why you decided to even compare the two.
11) ''As opposed with the 50's where there was the 'Primadonna Assoluta',that was referring to the theater,today the 'Superstar' goes to the business.''
-I agree. This is why so many young singers burn out so soon: they are given a ''popular'' demanding repertory before they had the time to develop their technique. As a result, the voice cannot sustain the pressure and eventually breaks (I feel unfortunately, that Yoncheva is heading in this direction).
Even more established singers take roles which they have no business singing in the first place. Harteros for instance, does not have the vocality for Forza's Leonora (she is definitively NOT a spinto !) but she was still billed with Kaufmann (another sad case) as the ''dream team'' in München.
12) ''you can listen to Callas and Magda Olivero's take on 'Poveri fiori' as two Adrianas who do honestly lament over a bouquet of violets..The first just once in the studio,the latter being the favourite Adriana for 5 decades with the approval of Cilea himself''
-They do far more than ''honestly lament over a bouquet of violets'' but I digress.;-) I tend to prefer live recordings (even in bad sound) over studio ones so the Olivero live recording in Naples is one of my favorite (it has Corelli and Bastianini in it !). I also like the Tebaldi-Corelli live recording at the Met (it was 1964 I believe) as Corelli was completely on fire there.
And no, I'm not comparing Netrebko's rendition to Callas and Olivero's. This would be absurd.
Magnifique production de Sir David McVicar avec des interprètes magistrales !
Ecoute Callas et verra la grand difference.
@@aguilartistapintor5967 Oui mais Callas n'est plus là pour nous enchanter alors ?
@@rosy3385 mais il ya ces enregistrements qui a moi m'emouvent encore et encore.
@@aguilartistapintor5967 je vous crois car je possède moi aussi de superbes vinyles avec des distributions prestigieuses !
Anna is the best she always will be. Her fans love her and will disregard the negative comments so you’re wasting your time. ⭐️⭐️⭐️⭐️⭐️
Netrebko grita muy bien, pero carece de técnica. Esta interpretaciòn hace daño a los oìdos. Es un gran producto de marketing y una soprano mediocre
Dragon, I am also old ( above 70) . Full professor, with 120 published papers and monograph of 500 pages long.In world ranking in science I am in 2.5% from the very top. So, I' ve seen places and people. To call somebody stupid is a signature of never belonging to nobility. Accordingly, your statements are just selfadvertizing. You are using Netrebko for selfpromotion. No more.This is typical for people of no personal accomplishments.
Professor Emeritus of CZcams Comment Warfair😂😂 👏🏻🎩
Terribile!!!
this is at the end of the opera, on an open stage and not in a record studio. for sure she was tired and it was very difficult to sing for her. because you have to go from pianissimo to crescendo.......opera singer like me knows how difficult this is, especially at the end of an opera, especially on a big stage like MO. of all these circumstances i would accept it as a very good performance - this aria.
Actually, i saw this performance live at cinema, and Anna's voice was amazing! So it's just bad record or some trouble with sound on the video.
@@yasherkavanilla LIVE at CINEMA is not live, but contradiction.You can't make cinematic sound without microphon.And mic you can turn up ... a lot....as you know :-)
BRAAAAVAAAA!!!
Esta mujer es genial!
Dame Joan Sutherland sang this with such depth and feeling it broke your heart. This rendition makes me want to vomit. She's ruined her voice. She's out of tune and she desperately needs to retire
Don't tell nonsense. Dame JS, bless her, never ever sang anything with depth and feeling.
@@robert111k actually she did
Great performance.
Wow this is so bad
Bravo Luca give me 15 years and you’ll see ;)
Oh look, another hive of keyboard warriors in their natural habitat, taking great pleasure in ragging on lead singers at one of the greatest opera houses on the planet.
Exactly. And what is funniest is that these people who are supposedly experts have all the free (useless) time to (supposedly) watch all the videos and write comments in all of them even if they always stress how awful, irrelevant, unskilled, untalented the singer in fact is.I think having such passionate detractors says a lot about the actual artistic relevance of a singer like Netrebko... but it says even more about the mental health and lifestyle of the detractors themselves.
non ci siamo proprio
She is all the charachters of her range nowadays. Manon, Manon Lescaut, Adriana, ...simply beautiful!!!!!
Her voice is getting worse (what is natural because of the age), but acting is still breathtaking
Wrong. The voice is phenomenal and carries so well in the House you’d think she was right in front of you.
Bravo Luca she has valsava, wobble, hollow sound and small voice. You are just butthurt
TERRIBLE!
Just dreadful
The audio is clearly corrupted. Anna has never sounded like that.
I'm sorry but... have you ever listen to her singing carmen.... ? And so many other operas... if you search you will find... i'm sorry but this is the truth of modern opera :(
terrible
Her Adriana was quite mediocre... Compare her to Olivero, Scotto, Caballé or even Dessí and contrast. Provincial at best. Not Met stuff.
@Bravo Luca it's not important where sing but HOW sing.... and she's not good for adriana lecouvreur
@Bravo Luca
Seems you didn't go to opera in the days when singers were at times loudly boooed. Every singer is indeed different but that does not deny anyone the right to compare. Or has political correctness at the MET reached such a base level that discretion or critique is out of bounds and everyone is just monotonously 'absolutely fabulous'.
holy crap! she's gotten SO BAD
Sempre una grande artista ma purtroppo la voce è prematuramente usurata, ha perso in limpidezza!
That her voice would lose some of its limpid youthfulness is nothing but unsurprising considering that she is approaching 48 years old. But I think the word "premature" is quite nonsense to describe her present vocal state. What is premature about it? Netrebko has had an international operatic career singing important roles (like Susanna and Lyudmila at first) since 1994. She's about to complete 25 years on the stage singing a huge repertory (and not singing comprimario parts). With 25 years of career, Tebaldi's voice was also quite "usurata" in 1969, Callas and Ricciarelli did not have a career anymore, most sopranos would have lost the freshness of their younger prime and would be starting to show signs of vocal aging. That's just what happens to most singers, even the greatest.
@@aprendizercomygor Bull shit.With proper technic, the voice is not ruined after 25 years of work. Wrong reperotire and pushing voice is the reason vor vocal decline.
@@BernardaBobro So Tebaldi, Varnay, Caballé and so many other sopranos had wrong repertory and pushed their voices? Because the fact is that after 25 years of work they were still superb, but had clearly diminished vocal resources and a more aged voice. Netrebko is clearly in the same phase: not crashing, but starting a gradual decline. Voices evolve through time, her voice clearly couldn't keep singing Adinas and Susannas after 2011-2012, she simply had to change her repertory (even though some of her choices were bad, but not most). No, 25 years of singing career is more than the entire career of some sopranos, and a large part of them are done with singing after some 30 years of work. You're taking the exceptions to be the rule, but few sopranos really had amazingly well preserved voices after some 40 years of singing career.
@@aprendizercomygor Just listen Netrebko when she was 20,30,40 and now....and think about how she sounds.And than what happend to reach this kind of sound.There's is not such a thing as FACH and Fach change.The singers voice can just get stronger with more wisdom or get bad with wrong decisions.Anna made very bad ones.She is exactly the same lyric voice as she was before,singing Turandot,Leonore etc. now.That is just wrong for her voice.No rocket science.As a singer I can tell you: with 48 the body of a singer is in great shape and power.Not in decline.BUT of course, you have to work on you voice and keep it fresh.Anna is been screeming for years.No wonder....
Diva!👏👏👏👏👏
chest voice
Chest voice, where are you????
Inexistent you mean.
Diosa
She gets away with much because her essentially lyric soprano is dark and gleaming enough. The entire aria is over sung as she has neither the natural volume or carrying power to go where she wished it to naturally. So it becomes rather awkward with some threaded coarseness and wobbling and intonation issues going on. The role is very hammy and is often done by older sopranos as it doesn’t demand perfection of coloratura or range really. This was a decent performance but yeah it’s a bit “faked”.
Людям не нравится Анна, но Мет зовет ее петь каждый год по несколько раз. Лол
Una total falta de oído armónico y una voz acabada
Che orrore!!!
Is she sick? The voice is so nasal and constricted... Oh, wait, that's how she always sounds, right.
Después de dos años, confirmo: HORRIBLE!!!!!!!!!
Bravissima!!
The way she just defiles the music... Awful.
Russian Olympics ,ha -ha !!!
I was thinking a bit further about geteral traits of all negators. They all say the same thing: this is not good and that is not good. But Never they bring examples of what they consider as good. Say, in our times, if some think that Netrebko is not good, fine. But then who is better her at this moment?Not 40-60 years ago?Since opera is visual art directors of all opera theaters worry about the revenue. If somebody is critical, let him/ her spell out name of other singer who would bring more cash to this or that opera house. The same critics will then say that the majority is not an argument. Fine, then in what other field of human activity opinion of majority is discarded? Pop singers make 10 times more money than Netrebko...What does this mean? I let critics of Netrebko to answer this question
A me non dispiace, onestamente
Montserrat did this role so good..and Angela also brilliant..Anna sorry...😮
Anna Netrebko: vocally shamefull/The tackiest Adriana ever! - Angela Gheorghiu: vocally insufficient/The corniest Adriana ever!