Tatiana is vulnerable but not weak. She demonstrates personal strength and has the courage of her convictions, otherwise she would have never dared write the letter. That strength shows through in the final scene. I like Anna's Tatiana because she projects that strength, which contrasts sharply with Onegin's failure to connect and make commitments.
A phantastic performance of one of my favourite scenes in opera history. I love the poem by Pushkin and Tchaikovsky's music, but at the same time I can feel the emotion in it. It calls back memories of a couple of silly letters that I have written when I was suffering of a hopeless love. Yes, these things happen in real life, but I am glad that it is a long time ago and I hope I am bit wiser now. And Anna Netrebko is just phantastic. She is definitely one of the best singers in the world and it is very special to hear her sing in her mother tongue.
May I ask why? Because I always thought Tatyana's story is very sad. Many years later, she still loves Onegin, but can't be with him, because she is now married to someone else.
@@elena.deinhammer i dont think she was still in love with him , rather i see it as she ended up with someone who values her instead of some duche who murderd her sister's fiancé and will probably leave her and treat her poorly if she ended up with him
@@red_elezen But in the final scene, she admits that she still loves Onegin. On the other hand, Tatjana's biggest strength is loyalty, she stays loyal to her husband, to herself and also, in a complicated way, to Onegin.
Alexander Pushkin was a romantic and for a romantic the feel of love never disappear. Tatyana was in love with Onegin 'til her last breath. She got married with someone else, but she promised her new - to-be husband that she won't be for him more than a friend. And here Pushkin wants to show us that love (that kind of love) is eternal, just like Paolo and Francesca. And I don't think that she ever regreted to love Eugene. (that's my opinion😅)
Amazing performance, perfection. Saw it Live in HD yesterday, April 22, 2017. I just fell in love with this opera. Anna Netrebko was so believable as Tatiana, and Peter Mattei has the most beautiful baritone. Alexei Golgov as Lenski made me cry.
Ich könnte mir dieses Video immer und immer wieder ansehen. Sie singt einmalig und legt so Gefühl in diese Rolle und dann auch noch vollen Körpereinsatz. Man wünscht sich einfach nur, dabei gewesen zu sein.
I think she is wonderful. Tatiana is only 18 years old when Onegin walk into her life and I think Anna captures that vulnerability beautifully. And the music is just breathtaking... I'm sure we can all agree on that.
What? Where did you got she was 18? Olga is 11 when she marries Lensky. I know Olga is the younger sister, but they are just few years apart like 2-3, or?
I know Onegin was 18 on the start of the story, and I think Tanya was like 17 or also 18 as Onegin was. Lenskij was a year younger than Onegin, but I don't think they mention Olga's age in the book at all.
She is just utterly fabulous in this role. I saw her today live in HD at the movie theater. Beczala and Kwiecien were also very well suited for their respective roles.
Yes, I saw her performing this live about three years later, opposite Peter Mattei as Onegin (he had stood in at short notice for the great Dmitry Hvorostovsky, whose health was already failing - he died two years later: I had seen him and Anna together one final time in Verdi's Il Trovatore in late 2015). Anna was the number one female star of the Met at the time, I think she opened the new season six times on a row, both the in-house season and the Live in HD season (often with the same opera at both, of course) and with family and friends I saw all of those openers - plus many other superb performances, before the Covid pandemic made it impossible for two years. She really is on fire on stage - a very good actress - and also a superb singer with that great, vibrant voice. It's sad that her voice has declined a bit as she went into more dramatic roles, but I also think the Met handled her in a thankless way after the Ukraine war broke out.
I, for my part, find this version very emotional and sincere. I have never felt particularly moved by Tatiana's part, but Netrebko gives a new ring to it. I can see the difficult feelings she is going through while writing the letter.
Friends, listen to the full final version of the performance (this excerpt is from the rehearsal). Anna performed an amazing Tatyana both vocally and artistically. I was never among her fans, but I really must say, that this Tatyana is one of the best ever. And Gergiev's very slow tempos make it possible to listen to each wonderful Sound of this amazing Music being permanently spellbound. Great THANKS to both of them and to all the people, who took part in this brilliant work!
I have to agree- having seen the telecast performance live the day after this was taped- it was extraordinarily moving- and as one who writes love letters every day of his life- knowing they cannot be read, or sent, or heard, except as a prayer- I know what it is to fall every day on the floor, from the exhilarating exhaustion of unrequited love, love that only G-d above can own. Другой!.. Нет, никому на свете Не отдала бы сердца я! То в вышнем суждено совете... То воля неба: я твоя; Вся жизнь моя была залогом Свиданья верного с тобой; Я знаю, ты мне послан богом, До гроба ты хранитель мой... Кончаю! Страшно перечесть... Стыдом и страхом замираю... Но мне порукой ваша честь, И смело ей себя вверяю... Another!… No, no one on this earth Is there to whom I'd give my heart! That is ordained by highest fate… That is heaven's will - that I am yours; My life till now was but a pledge, Of meeting with you, a forward image; You were sent by heaven of that I'm sure, To the grave itself you are my saviour… I finish - I tremble to read it through, With shame and terror my heart sinks low, But your honour is my guarantee And to that I entrust my destiny.
People here ask why Anna Netrebko falls on the floor after her aria. Quite simply, the Stage Director tells her to. The singers don't get to make decisions on their position on the stage or what their body movements should be. They get to make suggestions, but it's the Stage Director's call.
To my understanding, the Stage Director has her falling to the floor simply because she's just so exhausted. Remember that she spent the ENTIRE NIGHT trying to compose the godforsaken letter to Onegin and not only that she's basically been mentally torturing herself about whether or not she should even write the letter, and that's no easy task. By the end of it all, she's both so physically and emotionally wrung out that it's not surprising that she just plummets to the floor and sleeps there. That's how I saw it as.
I would disagree on that of singers not making decisions on the stage, well Netrebko's caliber of singers probably don't. So far hardly do we imagine Galina Vishnevskaya o Maria Callas performing some irrelevant body movements to the Stage Director's call.
Whatever the imperfections of a live performance Anna Netrebko is a great and committed artist. Nobody is forced to listen to or like her work. If you don't like her work that is fine, but why bother to come to the comments and criticise ? Surely it is easier and a better use of time to go and listen to another singer that you enjoy in that case?
Совершеноо верно. Кому не нравиться лучше б молчали . Голос может не нравиться только в том случае когда слуховые перепонки не воспринимают вибрацию и тон звука. У Анны очень сильный голос, конечно у кого проблемы со слуховыми перепонками то это их проблемы а не Анны с идеальны оперным. голосом .
Do you know why someone bothers to come here and put comments, it is because that someone does not agree with the idea that a certain opera singer is considered the best in the world, but the same opera singer uses wrong technics and makes very strident sounds and maybe other opera singers deserve more attention and fame, and because many opera singers are just overrated!!
This is the first time I have ever seen a Netrebko performance which did NOT enchant and/or enthrall me for its beauty and the aptness of the interpretation. It seems to me that this aria bespeaks a kind of forlorn vulnerability as the woman desperately seeks protection and looks for hope. The lovely descending melody at its heart seems to almost weep out that sentiment again and again (la de da da da dah dah dah...). Netrebko’s voice is powerful, the high notes magnificent and full, her ability to move naturally and still maintain the highest level of musical excellence is formidable, and she is expresses herself with the kind of thorough passion running out through every cell which is so exquisite about her and makes her not just a singer but a consummate artist. BUT. But her expression…she comes across more like a powerful woman berating someone out of anger, than a forlorn woman almost wistfully beseeching the man who is her only hope to protect her. We live in an age when vocal power and an extreme sport mentality lead tenors to shout and growl their way through arias clearly marked as and meant to be sung in double piano if not pianissimo---but I had never seen Netrebko cede to that kind of impulse toward substituting brutality for conviction, bludgeoning for finesse. So, I was surprised that as the aria went forward I found myself less and less in the moment, and more and more stepping back and wondering, why is she being so muscular and brutal about this, it’s all wrong? Maybe she was directed to play it that way, but I would be surprised if such a great artist would take direction in such a wrongheaded sense… Oh well, nobody is perfect! And I have finally seen even Netrebko show me that.
Saw this today at the theater. I was not too impressed with this video before, but within the opera it is truly gorgeous and moving. What other have said about Anna's Tatyana making choices and being a strong character is right on. In this production the balance between the leads is perfect, and true to the book. BTW, between acts the Met Opera manager said the cast had been sick a week ago, so no surprise if this dress rehearsal was difficult for her.
Try to get the video of a final production of this opera with this cast..will burn your eyes and heart out, in a good way!...breathtaking...really makes it a true tragedy of it, not just dressed up singing..video is at Amazon
Absolutely. When she is singing "perhaps fate holds something different" that changed my image of Tatiana completely. She understands that there are other ways and she acnowledges this but still she wants to be lost in her fantasy. And in finale she again understands all the ways and chooses deliberately. This is Netrebko's presentation of Tatiana, maybe a little bit more "self-made woman" but i liked it. Especially in duets with Kwiecien's Onegin which became very dramatic.
Netrebko's age in this performance is operatically irrelevant. She's 42 in this performance and Eugene's role is sung by a 41 year old. If one wanted a 17 year old to be Tatiana, the opera wouldn't - couldn't - ever be performed because a 17 year old is incapable of singing this role. The Met performance this month ( November, 2013 ) of "Eugene Onegin" will feature soprano, Marina Poplavskaya, as Tatiana. She's not 17 either - she's now 36. I think she definitely has gained weight - unfortunately, that's what happens to a lot of us as we grow older. I don't know if she's wearing a bustle, and I really don't care. The weight increase possibly began with the birth of her son who is now 5 years old. In any event, added weight in a soprano is often a very good thing, at least for the strength and endurance of the voice. I liked the comment that Netrebko can sing in Russian very well - I wonder if that's because she IS Russian ? I don't hear her being out of tune and I don't think her voice is too heavy, tough or dark for the role. The opera, it seems to me, is a tragic story of unrequited love which ends unhappily - it IS dark and intimate.
Added weight is by no means necessary for a bigger sound, especially when the weight is established after the voice and technique have already been set up. It's true that bigger singers have more muscles -- from carrying around all that weight -- and for some reason the proportion of muscle to voice works in the voice's favor, building out sound -- if the singer's technique is stable. However, this works when the weight has already been part of the singer's life, and only if the singer really should be singing the repertoire under discussion. It doesn't matter what size one is -- if you're singing the wrong rep, you are singing the wrong rep. I have never totally understood the size thing because I would think size would not change the proportion of muscle to lung to voice. One thing is for sure, however. When singers lose weight too fast, their voices suffer. After spending years driving the voice in a particular manner, the singer cannot just adapt his or her technique overnight, to balance the push to the new, smaller size of his or her body. They don't have to use so much muscle now that they don't have all that weight to carry around. They end up with an edge. e.g. gorgeous Debra Voight whose voice used to be fresh like a cool river. (Of course she's also getting a bit older, so a change in the voice is inevitable.)
Tatiana was 13. And have you ever seen 17 y. o. singing? Well, you should listen to some Russian opera, then. You would find some very talented young people.
Suspension of Disbelief is at the core of almost all theater..but Opera?? People go around singing in poetry to each other all day long every day where you live?? I doubt it!!..But they do in ..guess where: OPERA...and we suspend our disbelief. NO? Try to get the video of a final production of this opera with this cast..will burn your eyes and heart out, in a good way!...breathtaking...really makes it a true tragedy of it, not just dressed up singing.
Я видел это «живое», переданное в театры по всему миру. Я не могу объяснить, как эмоция была ... Чтобы увидеть, как Онегин носит себя как король и так жесток к ней! Она была для него не более чем восковым яблоком! Как будто у него был какой-то титул, этот Онегин! Я никогда не забуду и не прощу его жестокости, такого отношения к великой женщине. Я буду любить ее навсегда.
Tatyana remains sunk in thought, then rises in a state of great agitation with an expression of determination on her face. TATYANA Let me perish, but first let me summon, in dazzling hope, bliss as yet unknown. Life's sweetness is known to me! I drink the magic potion of desire! I am beset by visions! Everywhere, everywhere I look, I see my fatal tempter! Wherever I look, I see him! She goes to the writing table, sits down, writes, then pauses. No, that's all wrong! I'll begin again! she tears up the unfinished letter Ah, what's the matter with me! I'm all on fire! I don't know how to begin! She writes, then pauses and reads it over. 'I write to you, - and then? What more is there to say? Now, I know, it is within your power to punish me with disdain! But if you nourish one grain of pity for my unhappy lot, you will not abandon me. At first I wished to remain silent; then, believe me, you would never have known my shame, never!' She puts the letter aside. O yes, I swore to lock within my breast this avowal of a mad and ardent passion. Alas, I have not the strength to subdue my heart! Come what may, I am prepared! I will confess all! Courage! He shall know all! She writes. 'Why, oh why did you visit us? Buried in this remote countryside, I should never have known you, nor should I have known this torment. The turbulence of a youthful heart, calmed by time, who knows? - most likely I would have found another, have proved a faithful wife and virtuous mother…' She becomes lost in thought, then rises suddenly. Another! No, not to any other in the world would I have given my heart! It is decreed on high, It is the will of heaven: I am yours! My whole life has been a pledge of this inevitable encounter; I know this: God sent you to me, you are my keeper till the grave! You appeared before me in my dreams; as yet unseen, you were already dear, your wondrous gaze filled me with longing, your voice resounded in my heart long ago … no, it was no dream! As soon as you arrived, I recognized you, I almost swooned, began to blaze with passion, and to myself I said: 'Tis he! 'Tis he! I know it! I have heard you … Have you not spoken to me in the silence when I visited the poor or sought in prayer some solace for the anguish of my soul? And just this very moment, was it not you, dear vision, that flamed in the limpid darkness, stooped gently at my bedside and with joy and love whispered words of hope? She returns to the table and sits down again to write. 'Who are you'? My guardian angel or a wily tempter? Put my doubts at rest. Maybe this is all an empty dream, the self?deception of an inexperienced soul, and something quite different is to be …' She rises again and paces pensively to and fro. But so be it! My fate henceforth I entrust to you; in tears before you, your protection I implore, I implore. Imagine: I am all alone here! No one understands me! I can think no more, and must perish in silence! I wait for you, I wait for you! Speak the word to revive my heart's fondest hopes or shatter this oppressive dream with, alas, the scorn, alas, the scorn I have deserved! She goes swiftly to the table, hurriedly finishes the letter and signs and seals it. Finished! It's too frightening to read over, I swoon from shame and fear, but his honor is my guarantee and in that I put my trust! She goes to the window and draws aside the curtains. The room is immediately flooded with a rosy dawn light. A shepherd's pipe is heard in the distance. Ah, night is past, everything is awake … and the sun is rising. The shepherd is playing his pipe … Everything is peaceful. While I … I …
To dunrob3. Fist of all, Anna was doing this with full approval of stage director and conductor. And, if this looks like a spontaneity to you, I consider this as a compliment to THEM (director and conductor). Second, and more important, ONEGIN is Russian opera and to use Tebaldi and Caballe' as yardsticks to something which is not in their culture is outright wrong!
Yes indeed! and one she will have watched, listened to and sung herself many times during her early career in Russia. Onegin is one of the most loved national operas in Russia, I guess it's as widely performed as The Barber of Seville in Italy. :)
1) Judging an artist by the weight or age is ridiculous, discriminative and disgusting 2) the diction is clear - all words are easily understandable 3) (final) rehearsal is still rehearsal, so for the “safe” judgment, I guess, the performance should be taken 4) The “personage” created as Tatiana here is uncommon, but uncommon does not mean by itself bad. Matter of everyone’s personal opinion. This Tatiana, I think, is really hers so to speak. How it fits with Tatiana aimed in this timeless masterpiece originally - that is proper question to discuss, I think. 5) Overemotional?... but where is the optimum of emotional tension and who sets it, what is emotional enough and what is over? Again, depending on the particular listener... 6) As many people noted, just to stress again, there is significant contribution always of the regisseur, therefore stating that “Anna did that and that” or “Anna sang such and such” is not fully correct objectively
Can anyone really know what are opera singers singing without looking at the subs? I remember I could hear a few English words when I watched the enchanted island!!! XD
It is difficult for Anna to play a young insecure shy and simple country girl and she does a lovely job in the letter writing process moving through the different stages of doubt, analysis of the situation, acceptance of passion, and finally a daring decision. After everything that happened, her final arrogant stance makes complete sense to me; it is very urbane for a woman to reject presumptuous friendly approaches. Dostoyevsy said Tatiana was the quintessential Russian woman.
In her interview with Charlie Rose, Anna said that she thought what he called "beauty" comes with self confidence and experience. Tatiana is not self confident. She is a plain inexperienced country girl. Onegin only sees her beauty, once she is a confident and experienced urbanite.
"Onegin would run a mile from Netrebko." She is very crude, trying very hard but so non-artisticly pushy! heavy weight does not help.. Netrebko is too obviously Personally Emotional, while moves around as she is in her house, not on a theatrical stage. Very unfortunately, she is truly VULGAR for performing timeless masterpieces !!! Her voice is highly wobbly. Though she reaches some beautiful singing notes, she is so preoccupied with her Personal feelings, that she is using and abusing magnificent music of a timeless opera as her background. WHen she gets too emotional she sings out of tune. Cheers!
For all those that commenting on Anna's beauty, it is unfare to measure it when there is a camera that emphasizes every deficiency. Also Anna has said it many times she has a round face. On camera that never reads well especially on the close up. Additionally do not go based on the costumes which is by far not her correct size. If you actually see the woman in person which I did on Monday she is still gprgeous if not that same model figure she used to be
This was ten years ago, before she had taken on the very heavy repertoire. She had some problems already then (pitch and register changes), but the voice still kind of functioned and held up. I think this recording is actually quite good, although she certainly can't compare with the great rendition of this aria - such as Freni's or Stoyanova's, just to name a few. In terms of artistry, phrasing and expressivity, I find her more in the generic side here, too. It's certainly on a good professional level, but I miss the raw vulnerability, the emotional rollercoaster and the deep humanity of, say, Asmik Grigorian's more recent performances of the role. But I am sure that all the haters of more modern productions will love this clip! ;-)
Why does she fall on the floor? How about this. She can expect a long round of applause after that magnificent performance. They usually hold their pose while that's going on. She might as well take the opportunity for a rest. Renée Fleming's performance is very, very good, if Anna's first part of the Letter scene is as good as the second (and I would expect it to be), It's a killer.
Так не надо было соглашаться, если не тянешь... и никогда не тянула на такую великую музыку и образ...Но для западной публики глянцевая бумажка всегда признак чего-то особенного :)
А какая её роль? Хоть Татьяна, хоть Тоска, хоть Турандот и прочие Анны Болейн - всё один и тот же кубанский напор, неосмысленность, казачий артистизм хористки. Ещё и перехваленность и полное отсутствие самокритики - вот пишет: - Мюзетту так как я хрен кто споёт! - лексика богатая(
I have no issues understanding her. Of course, we all know these words by heart, but still I have no problems or notice any issues with diction. Will tell in two weeks how it sounds live.
Rubbish. Absolute rubbish. I saw her last night in this very role and she was transcendent. She connected with the music in a way I have rarely seen at the opera. Her "Letter Scene" brought me to tears with its emotional honesty and musicality. Her development of the character from the first act all the way through the final scene was was sensitive and honest. Not until last night did I care for Netrebko as a singer or actor, but now I am a fan.
She has such a beautiful voice, and singing in her native language is a treat. The production was not very good, unworthy of MET's standards, but the cast was excellent.
lizardking02793 I was assuming to opera only. Elina Garanca is the best female opera singer nowadays. She eats Anna for breakfast. Anna has much of natural talent, but Elina is a PRO.
As people already wrote - she is vulgar and out of tune. It's not about nationality, it's about being Eliza Doolittle. Read Onegin in English translation, especially Pushkin's description of Tatyana, you will get what is wrong with her interpretation. Chapter 8, XIV-XV :)
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I don't think Anna's voice is too deep or too heavy or too tough or dark. "Eugene Onegin" is, after all, a tragic opera with an unhappy ending. There is very little action in this opera and the music is sentimental, often introspective and intimate. Tatiana may be 17 years old in Pushkin's work but no 17 year old can sing the part - it has to be sung by someone like Netrebko who is 42 at this performance.
Amazing that this is receiving such plaudits. There is scarcely a phrase where she doesn't go out of tune. The opening piano phrases are completely unsupported.
Listen to her I Puritani (DVD). pretty amazing. She had a kid, gained some weight, her vibrato slow a bit and got deeper. Like del Monaco who had a serious auto accident, circa 1963 I think, there was definitely a before and after. Bill
I agree. She has started pushing her voice, singing rep. she has no business attempting, like Anna Bolena. As a result she is manipulating the tone in her lower register to feign larger sound. She sounds like a hooting owl in that part of her voice, instead of fresh and full the way she used to. The only part of her voice that sounds as it did before is her sparkling top range. Just a few notes, however, does not a voice make. It makes me sad that she is pushing herself into this rep. It will destroy her voice. She has also grown fatter and fatter -- don't blame pregnancy for that. She was much thinner during her pregnancy. I don't know if it's age, carelessness, a medical condition, or a conclusion that if she gets fat she'll be able to sing this bigger rep. It requires a 'fatter' sound, as it were, by which I mean fuller tone and richness throughout. She's a great actress but I thinks she's just throwing it all away. She was almost unrecognizable in the most recent Onegin. Laced in to her corset within an inch of her life. Her face is not literally disappearing. Makes me so sad because I love her instrument - despite its being pitchy since day one -- and her personality. She is a real star and should not allow her light to be dimmed by bad decisions and advice!
You people are DEAF, blind and jealous. I don't see an obese woman in this video. I see a fantastic singer and performer- maybe why she is famous and you're not.
Why does she fall on the floor in the end? Strange :) She is supposed to open the window at the beginning of the next scene when the nanny comes in. But I liked it better than the Met's version with Ms. Fleming. Plus it's "foreign accent-free" - not very important, but it IS a plus :)
If you are unable to understand the Russian, you probably have severe hearing difficulties, which would also explain your strange comments about the music. I both understand her clearly and appreciate her interpretation. As for age, I doubt if any one that is capable of singing this remotely well, is anywhere near the age to correctly physically portray the age of Tatiana. Older ladies have ever portrayed teen age roles throughout opera history. Opera fantasy rarely portrays correct age!
Netrebko sings and understands Russian well ? Could it possibly be that it's because she IS Russian ? As for her apparent weight gain, it could simply be a matter of her aging as happens to many of us. It could well have begun with the birth of her child, now 5 years old.
![I.N "HALLUCINATION" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/n5B5q1Hwt_U/mqdefault.jpg)
Tatiana is vulnerable but not weak. She demonstrates personal strength and has the courage of her convictions, otherwise she would have never dared write the letter. That strength shows through in the final scene. I like Anna's Tatiana because she projects that strength, which contrasts sharply with Onegin's failure to connect and make commitments.
A phantastic performance of one of my favourite scenes in opera history. I love the poem by Pushkin and Tchaikovsky's music, but at the same time I can feel the emotion in it. It calls back memories of a couple of silly letters that I have written when I was suffering of a hopeless love. Yes, these things happen in real life, but I am glad that it is a long time ago and I hope I am bit wiser now. And Anna Netrebko is just phantastic. She is definitely one of the best singers in the world and it is very special to hear her sing in her mother tongue.
..Наталья Михалева _Татьяна _Чайковский "Евгений Онегин" ruclips.net/video/n_3DyIPBDF4/видео.html
"WAS" one of etc.
It is one of only two operas that mot people associate with Tchaikovsky. In fact he wrote eleven operas, but one was not completed.
Tatyana'a story makes me realize that rejection can be a good thing sometimes
.Наталья Михалева _Татьяна _Чайковский "Евгений Онегин" ruclips.net/video/n_3DyIPBDF4/видео.html
May I ask why? Because I always thought Tatyana's story is very sad. Many years later, she still loves Onegin, but can't be with him, because she is now married to someone else.
@@elena.deinhammer i dont think she was still in love with him , rather i see it as she ended up with someone who values her instead of some duche who murderd her sister's fiancé and will probably leave her and treat her poorly if she ended up with him
@@red_elezen But in the final scene, she admits that she still loves Onegin. On the other hand, Tatjana's biggest strength is loyalty, she stays loyal to her husband, to herself and also, in a complicated way, to Onegin.
Alexander Pushkin was a romantic and for a romantic the feel of love never disappear. Tatyana was in love with Onegin 'til her last breath. She got married with someone else, but she promised her new - to-be husband that she won't be for him more than a friend. And here Pushkin wants to show us that love (that kind of love) is eternal, just like Paolo and Francesca. And I don't think that she ever regreted to love Eugene. (that's my opinion😅)
Amazing performance, perfection. Saw it Live in HD yesterday, April 22, 2017. I just fell in love with this opera. Anna Netrebko was so believable as Tatiana, and Peter Mattei has the most beautiful baritone. Alexei Golgov as Lenski made me cry.
.Наталья Михалева _Татьяна _Чайковский "Евгений Онегин" ruclips.net/video/n_3DyIPBDF4/видео.html
Ich könnte mir dieses Video immer und immer wieder ansehen. Sie singt einmalig und legt so Gefühl in diese Rolle und dann auch noch vollen Körpereinsatz. Man wünscht sich einfach nur, dabei gewesen zu sein.
.Наталья Михалева _Татьяна _Чайковский "Евгений Онегин" ruclips.net/video/n_3DyIPBDF4/видео.html
I think she is wonderful. Tatiana is only 18 years old when Onegin walk into her life and I think Anna captures that vulnerability beautifully. And the music is just breathtaking... I'm sure we can all agree on that.
What? Where did you got she was 18? Olga is 11 when she marries Lensky. I know Olga is the younger sister, but they are just few years apart like 2-3, or?
And there's twice indirectly mentioned the age of 13 (4 chapter, when nanya talks about her marriage)
I know Onegin was 18 on the start of the story, and I think Tanya was like 17 or also 18 as Onegin was. Lenskij was a year younger than Onegin, but I don't think they mention Olga's age in the book at all.
I had forgotten how good she sounded before she overextended her voice into overly dramatic roles. This is quite good
She is just utterly fabulous in this role. I saw her today live in HD at the movie theater. Beczala and Kwiecien were also very well suited for their respective roles.
.Наталья Михалева _Татьяна _Чайковский "Евгений Онегин" ruclips.net/video/n_3DyIPBDF4/видео.html
She's absolutely gorgeous 😍 very nice performance
Yes, I saw her performing this live about three years later, opposite Peter Mattei as Onegin (he had stood in at short notice for the great Dmitry Hvorostovsky, whose health was already failing - he died two years later: I had seen him and Anna together one final time in Verdi's Il Trovatore in late 2015). Anna was the number one female star of the Met at the time, I think she opened the new season six times on a row, both the in-house season and the Live in HD season (often with the same opera at both, of course) and with family and friends I saw all of those openers - plus many other superb performances, before the Covid pandemic made it impossible for two years. She really is on fire on stage - a very good actress - and also a superb singer with that great, vibrant voice. It's sad that her voice has declined a bit as she went into more dramatic roles, but I also think the Met handled her in a thankless way after the Ukraine war broke out.
@@louise_rose agreed
I will see this opera, my first live performance, in Vienna's main opera house soon. I am really looking forward to it.
..Наталья Михалева _Татьяна _Чайковский "Евгений Онегин" ruclips.net/video/n_3DyIPBDF4/видео.html
I, for my part, find this version very emotional and sincere. I have never felt particularly moved by Tatiana's part, but Netrebko gives a new ring to it. I can see the difficult feelings she is going through while writing the letter.
And Villazon is an amazing Lensky too!
...Наталья Михалева _Татьяна _Чайковский "Евгений Онегин" ruclips.net/video/n_3DyIPBDF4/видео.html
Friends, listen to the full final version of the performance (this excerpt is from the rehearsal). Anna performed an amazing Tatyana both vocally and artistically. I was never among her fans, but I really must say, that this Tatyana is one of the best ever. And Gergiev's very slow tempos make it possible to listen to each wonderful Sound of this amazing Music being permanently spellbound. Great THANKS to both of them and to all the people, who took part in this brilliant work!
I have to agree- having seen the telecast performance live the day after this was taped- it was extraordinarily moving- and as one who writes love letters every day of his life- knowing they cannot be read, or sent, or heard, except as a prayer- I know what it is to fall every day on the floor, from the exhilarating exhaustion of unrequited love, love that only G-d above can own.
Другой!.. Нет, никому на свете
Не отдала бы сердца я!
То в вышнем суждено совете...
То воля неба: я твоя;
Вся жизнь моя была залогом
Свиданья верного с тобой;
Я знаю, ты мне послан богом,
До гроба ты хранитель мой...
Кончаю! Страшно перечесть...
Стыдом и страхом замираю...
Но мне порукой ваша честь,
И смело ей себя вверяю...
Another!… No, no one on this earth
Is there to whom I'd give my heart!
That is ordained by highest fate…
That is heaven's will - that I am yours;
My life till now was but a pledge,
Of meeting with you, a forward image;
You were sent by heaven of that I'm sure,
To the grave itself you are my saviour…
I finish - I tremble to read it through,
With shame and terror my heart sinks low,
But your honour is my guarantee
And to that I entrust my destiny.
Yesterday's Met @ Movies performance was stellar--the whole cast--and this lady's acting is wonderful. I began to forget she wasn't really 18...
A note to say that I heard Ms. Netrebko sing this role yesterday (Met Live in HD) - her voice was in control, on pitch, luminous. Almost unbelievable.
Aint Misbehavin I also saw it in Austria, it was stunning
I try to listen to the music and appreciate the characterization and singing but dear me what a beautiful woman Anna is
People here ask why Anna Netrebko falls on the floor after her aria. Quite simply, the Stage Director tells her to. The singers don't get to make decisions on their position on the stage or what their body movements should be. They get to make suggestions, but it's the Stage Director's call.
To my understanding, the Stage Director has her falling to the floor simply because she's just so exhausted. Remember that she spent the ENTIRE NIGHT trying to compose the godforsaken letter to Onegin and not only that she's basically been mentally torturing herself about whether or not she should even write the letter, and that's no easy task. By the end of it all, she's both so physically and emotionally wrung out that it's not surprising that she just plummets to the floor and sleeps there. That's how I saw it as.
I would disagree on that of singers not making decisions on the stage, well Netrebko's caliber of singers probably don't. So far hardly do we imagine Galina Vishnevskaya o Maria Callas performing some irrelevant body movements to the Stage Director's call.
Why is she singing in the first place. We can hear her breath and her voice is weak and flat. She must have thugs backing her.
...Наталья Михалева _Татьяна _Чайковский "Евгений Онегин" ruclips.net/video/n_3DyIPBDF4/видео.html
Whatever the imperfections of a live performance Anna Netrebko is a great and committed artist. Nobody is forced to listen to or like her work. If you don't like her work that is fine, but why bother to come to the comments and criticise ? Surely it is easier and a better use of time to go and listen to another singer that you enjoy in that case?
Совершеноо верно. Кому не нравиться лучше б молчали . Голос может не нравиться только в том случае когда слуховые перепонки не воспринимают вибрацию и тон звука. У Анны очень сильный голос, конечно у кого проблемы со слуховыми перепонками то это их проблемы а не Анны с идеальны оперным. голосом .
@@ayleenx350 вот такие безграмотные у Ани-с-Кубани адвокаты...
Do you know why someone bothers to come here and put comments, it is because that someone does not agree with the idea that a certain opera singer is considered the best in the world, but the same opera singer uses wrong technics and makes very strident sounds and maybe other opera singers deserve more attention and fame, and because many opera singers are just overrated!!
Beauty comes from integrity such that there is a glow that is readily observed...
This is the first time I have ever seen a Netrebko performance which did NOT enchant and/or enthrall me for its beauty and the aptness of the interpretation. It
seems to me that this aria bespeaks a kind of forlorn vulnerability as the woman
desperately seeks protection and looks for hope. The lovely descending melody at its heart seems to almost weep out that sentiment again and again (la de da da da dah dah dah...). Netrebko’s voice is powerful, the high notes magnificent and full, her ability to move naturally and still maintain the highest level of musical excellence is formidable, and she is expresses herself with the kind of thorough passion running out through every cell which is so exquisite about her and makes her not just a singer but a consummate artist. BUT. But her expression…she comes across more like a powerful woman berating someone out of anger, than a forlorn woman almost wistfully beseeching the man who is her only hope to protect her. We live in an age when vocal power and an extreme sport mentality lead tenors to shout and growl their way through arias clearly marked as and meant to be sung in double piano if not pianissimo---but I had never seen Netrebko cede to that kind of impulse toward substituting brutality for conviction, bludgeoning for finesse. So, I was surprised that as the aria went forward I found myself less and less in the moment, and more and more stepping back and wondering, why is she being so muscular and brutal about this, it’s all wrong? Maybe she was directed to play it that way, but I would be surprised if such a great artist would take direction in such a wrongheaded sense… Oh well, nobody is perfect! And I have finally seen even Netrebko show me that.
Anna sounded so good!
Анна, прекрасно, чувственно! Обожаю и горжусь Вами!
..Наталья Михалева _Татьяна _Чайковский "Евгений Онегин" ruclips.net/video/n_3DyIPBDF4/видео.html
I was at the same performance - Wednesday night - and I absolutely agree. I thought she was wonderful.
Saw this today at the theater. I was not too impressed with this video before, but within the opera it is truly gorgeous and moving. What other have said about Anna's Tatyana making choices and being a strong character is right on. In this production the balance between the leads is perfect, and true to the book.
BTW, between acts the Met Opera manager said the cast had been sick a week ago, so no surprise if this dress rehearsal was difficult for her.
.Наталья Михалева _Татьяна _Чайковский "Евгений Онегин" ruclips.net/video/n_3DyIPBDF4/видео.html
Eugene Onegin: Letter Scene - Anna Netrebko Met I can hear again and again !!!!!!!!
Try to get the video of a final production of this opera with this cast..will burn your eyes and heart out, in a good way!...breathtaking...really makes it a true tragedy of it, not just dressed up singing..video is at Amazon
Un Eugene Onegin exceptionnel grâce aux talents d'Anna Netrebko, Mariusz Kwiecien, Piotr Beczala et tous les seconds rôles merveilleux !
É considerada por alguns críticos credenciados, uma das melhores vozes do mundo da ópera. Gosto imenso!
...Наталья Михалева _Татьяна _Чайковский "Евгений Онегин" ruclips.net/video/n_3DyIPBDF4/видео.html
Looking forward to seeing this on Saturday, April 22 2017, on the big screen!!!
Absolutely. When she is singing "perhaps fate holds something different" that changed my image of Tatiana completely. She understands that there are other ways and she acnowledges this but still she wants to be lost in her fantasy. And in finale she again understands all the ways and chooses deliberately. This is Netrebko's presentation of Tatiana, maybe a little bit more "self-made woman" but i liked it. Especially in duets with Kwiecien's Onegin which became very dramatic.
Brava!! Can't wait to see the HD.
Fastástica Anna!! Sueño con escucharlo en vivo!! :)
...Наталья Михалева _Татьяна _Чайковский "Евгений Онегин" ruclips.net/video/n_3DyIPBDF4/видео.html
Tatyana in her forties still can't get over Onegin.
this final dress rehearsal was filmed september 19, next day after Netrebko's birthday - september 18
Nuccia Focile with Bychkov is the best "letter" I've heard! That silky voice ....
My wife and I just saw this production in HD at the local theater. Wonderful!!
Anna is simply the best
Thanks
Would love to see this one day💜
Bravo ! Phantastisch !
Netrebko's age in this performance is operatically irrelevant. She's 42 in this performance and Eugene's role is sung by a 41 year old. If one wanted a 17 year old to be Tatiana, the opera wouldn't - couldn't - ever be performed because a 17 year old is incapable of singing this role.
The Met performance this month ( November, 2013 ) of "Eugene Onegin" will feature soprano, Marina Poplavskaya, as Tatiana. She's not 17 either - she's now 36.
I think she definitely has gained weight - unfortunately, that's what happens to a lot of us as we grow older. I don't know if she's wearing a bustle, and I really don't care. The weight increase possibly began with the birth of her son who is now 5 years old. In any event, added weight in a soprano is often a very good thing, at least for the strength and endurance of the voice.
I liked the comment that Netrebko can sing in Russian very well - I wonder if that's because she IS Russian ?
I don't hear her being out of tune and I don't think her voice is too heavy, tough or dark for the role. The opera, it seems to me, is a tragic story of unrequited love which ends unhappily - it IS dark and intimate.
Added weight is by no means necessary for a bigger sound, especially when the weight is established after the voice and technique have already been set up. It's true that bigger singers have more muscles -- from carrying around all that weight -- and for some reason the proportion of muscle to voice works in the voice's favor, building out sound -- if the singer's technique is stable. However, this works when the weight has already been part of the singer's life, and only if the singer really should be singing the repertoire under discussion. It doesn't matter what size one is -- if you're singing the wrong rep, you are singing the wrong rep. I have never totally understood the size thing because I would think size would not change the proportion of muscle to lung to voice. One thing is for sure, however. When singers lose weight too fast, their voices suffer. After spending years driving the voice in a particular manner, the singer cannot just adapt his or her technique overnight, to balance the push to the new, smaller size of his or her body. They don't have to use so much muscle now that they don't have all that weight to carry around. They end up with an edge. e.g. gorgeous Debra Voight whose voice used to be fresh like a cool river. (Of course she's also getting a bit older, so a change in the voice is inevitable.)
Tatiana was 13
Pushkin was dark
Tatiana was 13. And have you ever seen 17 y. o. singing? Well, you should listen to some Russian opera, then. You would find some very talented young people.
Suspension of Disbelief is at the core of almost all theater..but Opera?? People go around singing in poetry to each other all day long every day where you live??
I doubt it!!..But they do in ..guess where: OPERA...and we suspend our disbelief. NO? Try to get the video of a final production of this opera with this cast..will burn your eyes and heart out, in a good way!...breathtaking...really makes it a true tragedy of it, not just dressed up singing.
Я видел это «живое», переданное в театры по всему миру. Я не могу объяснить, как эмоция была ... Чтобы увидеть, как Онегин носит себя как король и так жесток к ней! Она была для него не более чем восковым яблоком! Как будто у него был какой-то титул, этот Онегин! Я никогда не забуду и не прощу его жестокости, такого отношения к великой женщине. Я буду любить ее навсегда.
Это была только генеральная репетиция. Сама производительность? Невообразимо трансцендентный!
Tatyana remains sunk in thought, then rises in a state of great agitation with an expression of determination on her face.
TATYANA
Let me perish, but first
let me summon, in dazzling hope,
bliss as yet unknown.
Life's sweetness is known to me!
I drink the magic potion of desire!
I am beset by visions!
Everywhere, everywhere I look,
I see my fatal tempter!
Wherever I look, I see him!
She goes to the writing table, sits down, writes, then pauses.
No, that's all wrong!
I'll begin again!
she tears up the unfinished letter
Ah, what's the matter with me! I'm all on fire!
I don't know how to begin!
She writes, then pauses and reads it over.
'I write to you, - and then?
What more is there to say?
Now, I know, it is within your power
to punish me with disdain!
But if you nourish one grain of pity
for my unhappy lot,
you will not abandon me.
At first I wished to remain silent;
then, believe me, you would never
have known my shame,
never!'
She puts the letter aside.
O yes, I swore to lock within my breast
this avowal of a mad and ardent passion.
Alas, I have not the strength to subdue my heart!
Come what may, I am prepared!
I will confess all! Courage!
He shall know all!
She writes.
'Why, oh why did you visit us?
Buried in this remote countryside,
I should never have known you,
nor should I have known this torment.
The turbulence of a youthful heart,
calmed by time, who knows? -
most likely I would have found another,
have proved a faithful wife
and virtuous mother…'
She becomes lost in thought, then rises suddenly.
Another! No, not to any other in the world
would I have given my heart!
It is decreed on high,
It is the will of heaven: I am yours!
My whole life has been a pledge
of this inevitable encounter;
I know this: God sent you to me,
you are my keeper till the grave!
You appeared before me in my dreams;
as yet unseen, you were already dear,
your wondrous gaze filled me with longing,
your voice resounded in my heart
long ago … no, it was no dream!
As soon as you arrived, I recognized you,
I almost swooned, began to blaze with passion,
and to myself I said: 'Tis he!
'Tis he!
I know it! I have heard you …
Have you not spoken to me in the silence
when I visited the poor
or sought in prayer some solace
for the anguish of my soul?
And just this very moment,
was it not you, dear vision,
that flamed in the limpid darkness,
stooped gently at my bedside
and with joy and love
whispered words of hope?
She returns to the table and sits down again to write.
'Who are you'? My guardian angel
or a wily tempter?
Put my doubts at rest.
Maybe this is all an empty dream,
the self?deception of an inexperienced soul,
and something quite different is to be …'
She rises again and paces pensively to and fro.
But so be it! My fate
henceforth I entrust to you;
in tears before you,
your protection I implore,
I implore.
Imagine: I am all alone here!
No one understands me!
I can think no more,
and must perish in silence!
I wait for you,
I wait for you! Speak the word
to revive my heart's fondest hopes
or shatter this oppressive dream
with, alas, the scorn,
alas, the scorn I have deserved!
She goes swiftly to the table, hurriedly finishes the letter and signs and seals it.
Finished! It's too frightening to read over,
I swoon from shame and fear,
but his honor is my guarantee
and in that I put my trust!
She goes to the window and draws aside the curtains. The room is immediately flooded with a rosy dawn light. A shepherd's pipe is heard in the distance.
Ah, night is past,
everything is awake …
and the sun is rising.
The shepherd is playing his pipe …
Everything is peaceful.
While I … I …
Где можно спектакль полностью посмотреть?
Vkontakte
To dunrob3. Fist of all, Anna was doing this with full approval of stage director and conductor. And, if this looks like a spontaneity to you, I consider this as a compliment to THEM (director and conductor). Second, and more important, ONEGIN is Russian opera and to use Tebaldi and Caballe' as yardsticks to something which is not in their culture is outright wrong!
Now, this is the role for her!
This seems like a role she was born to sing!
Yes indeed! and one she will have watched, listened to and sung herself many times during her early career in Russia. Onegin is one of the most loved national operas in Russia, I guess it's as widely performed as The Barber of Seville in Italy. :)
THE GREAT LACK OF CULTURAL UNDERSTANDING AND EDUCATION.... THE WHOLE METROPOLITAN IS DEGRADING WITH EVERY YEAR- DESPERATE FOR TRUE TALENTS...
Actually Tebaldi was known to sing "Vissi D'Arte" collapsed on the floor, which started the tradition of it being done that way.
Damn, that was beautiful...
1) Judging an artist by the weight or age is ridiculous, discriminative and disgusting
2) the diction is clear - all words are easily understandable
3) (final) rehearsal is still rehearsal, so for the “safe” judgment, I guess, the performance should be taken
4) The “personage” created as Tatiana here is uncommon, but uncommon does not mean by itself bad. Matter of everyone’s personal opinion. This Tatiana, I think, is really hers so to speak. How it fits with Tatiana aimed in this timeless masterpiece originally - that is proper question to discuss, I think.
5) Overemotional?... but where is the optimum of emotional tension and who sets it, what is emotional enough and what is over? Again, depending on the particular listener...
6) As many people noted, just to stress again, there is significant contribution always of the regisseur, therefore stating that “Anna did that and that” or “Anna sang such and such” is not fully correct objectively
Lovely impacting tones
Francisco, you did the photo shoot on Monday? I saw them on facebook. She still looks gorgeous! Nobody says that a model has to look like a reed.
C'est elle que je préfère dans cette interprétation d'Eugene Onegin !!!
Can anyone really know what are opera singers singing without looking at the subs? I remember I could hear a few English words when I watched the enchanted island!!! XD
Brava!! 🌹🌹🌹🌹
Stupenda meravigliosa and wanderfull soprano
It is difficult for Anna to play a young insecure shy and simple country girl and she does a lovely job in the letter writing process moving through the different stages of doubt, analysis of the situation, acceptance of passion, and finally a daring decision. After everything that happened, her final arrogant stance makes complete sense to me; it is very urbane for a woman to reject presumptuous friendly approaches. Dostoyevsy said Tatiana was the quintessential Russian woman.
Once upon a time...😢
bravo! hermoso!
In her interview with Charlie Rose, Anna said that she thought what he called "beauty" comes with self confidence and experience. Tatiana is not self confident. She is a plain inexperienced country girl. Onegin only sees her beauty, once she is a confident and experienced urbanite.
"Onegin would run a mile from Netrebko." She is very crude, trying very hard but so non-artisticly pushy! heavy weight does not help.. Netrebko is too obviously Personally Emotional, while moves around as she is in her house, not on a theatrical stage. Very unfortunately, she is truly VULGAR for performing timeless masterpieces !!! Her voice is highly wobbly. Though she reaches some beautiful singing notes, she is so preoccupied with her Personal feelings, that she is using and abusing magnificent music of a timeless opera as her background. WHen she gets too emotional she sings out of tune. Cheers!
.....Наталья Михалева _Татьяна _Чайковский "Евгений Онегин" ruclips.net/video/n_3DyIPBDF4/видео.html
Браво.
What a woman!
For all those that commenting on Anna's beauty, it is unfare to measure it when there is a camera that emphasizes every deficiency. Also Anna has said it many times she has a round face. On camera that never reads well especially on the close up. Additionally do not go based on the costumes which is by far not her correct size. If you actually see the woman in person which I did on Monday she is still gprgeous if not that same model figure she used to be
Such a Diva.
Anna Netrebko . . .👏💐🌿Mon Dieu⚜️
Merci Beaucoup
She will be the best tatiana of the history!!!
The best Tatiana ❤
Gorgeous.
I love it!!!
phantastische darbietung ❤🧡💛💚💙💜🤎💜💙💚💛🧡❤
Good
I would call it matronly! Vocally she sounds great.
Hey, I was there! :)
Even Lady Macbeth requires a measure of subtlety and nuance.
Some opera lovers know the libretti by heart, even if they are in Russian, German or Italian :)
It is sad to realize how poor translations can be.
Just wonderful.
Brabi Anna, isugarrisko abotza dekozu
This was ten years ago, before she had taken on the very heavy repertoire. She had some problems already then (pitch and register changes), but the voice still kind of functioned and held up.
I think this recording is actually quite good, although she certainly can't compare with the great rendition of this aria - such as Freni's or Stoyanova's, just to name a few.
In terms of artistry, phrasing and expressivity, I find her more in the generic side here, too. It's certainly on a good professional level, but I miss the raw vulnerability, the emotional rollercoaster and the deep humanity of, say, Asmik Grigorian's more recent performances of the role.
But I am sure that all the haters of more modern productions will love this clip! ;-)
Grandisima Diva
Why does she fall on the floor? How about this. She can expect a long round of applause after that magnificent performance. They usually hold their pose while that's going on. She might as well take the opportunity for a rest.
Renée Fleming's performance is very, very good, if Anna's first part of the Letter scene is as good as the second (and I would expect it to be), It's a killer.
это не её роль...ну не Татьяна она!
+MsYLENAY она неоднократно говорила об этом в интервью, говорила, что ее очень сильно упрашивали, и в итоге она согласилась))
Так не надо было соглашаться, если не тянешь... и никогда не тянула на такую великую музыку и образ...Но для западной публики глянцевая бумажка всегда признак чего-то особенного :)
А какая её роль? Хоть Татьяна, хоть Тоска, хоть Турандот и прочие Анны Болейн - всё один и тот же кубанский напор, неосмысленность, казачий артистизм хористки. Ещё и перехваленность и полное отсутствие самокритики - вот пишет: - Мюзетту так как я хрен кто споёт! - лексика богатая(
Фрося Бурлакова
She was made for this music.
主題動機樂句很迷人，詠嘆調張力十足
I have no issues understanding her. Of course, we all know these words by heart, but still I have no problems or notice any issues with diction. Will tell in two weeks how it sounds live.
Tatiana??? No, Anna, no...
Galina Visgnevskaja, Galina Pisarenko - si che sono le Tatiane!
Ma la Netrebko - no...
Rubbish. Absolute rubbish. I saw her last night in this very role and she was transcendent. She connected with the music in a way I have rarely seen at the opera. Her "Letter Scene" brought me to tears with its emotional honesty and musicality. Her development of the character from the first act all the way through the final scene was was sensitive and honest. Not until last night did I care for Netrebko as a singer or actor, but now I am a fan.
Brava Netrebko!
Анна-это уникум!!!! Второй такой нет в мире!
She has such a beautiful voice, and singing in her native language is a treat. The production was not very good, unworthy of MET's standards, but the cast was excellent.
Anna is Russian, who can sing this better than her.
Agreed!. in my opinion she is the greatest living singer in the world.
+lizardking02793 You haven't heard much, then.
Pretty big assumption, and completely wrong. I know all kinds of music. I am allowed to think that Anna is the greatest living singer.
lizardking02793 I was assuming to opera only. Elina Garanca is the best female opera singer nowadays. She eats Anna for breakfast. Anna has much of natural talent, but Elina is a PRO.
As people already wrote - she is vulgar and out of tune. It's not about nationality, it's about being Eliza Doolittle. Read Onegin in English translation, especially Pushkin's description of Tatyana, you will get what is wrong with her interpretation. Chapter 8, XIV-XV :)
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❤❤❤bravo
I don't think Anna's voice is too deep or too heavy or too tough or dark. "Eugene Onegin" is, after all, a tragic opera with an unhappy ending. There is very little action in this opera and the music is sentimental, often introspective and intimate. Tatiana may be 17 years old in Pushkin's work but no 17 year old can sing the part - it has to be sung by someone like Netrebko who is 42 at this performance.
Amazing that this is receiving such plaudits. There is scarcely a phrase where she doesn't go out of tune. The opening piano phrases are completely unsupported.
Exactly. I can't figure out why people think she's so wonderful; she's almost always at least slightly under pitch. Ugh.
Listen to her I Puritani (DVD). pretty amazing. She had a kid, gained some weight, her vibrato slow a bit and got deeper. Like del Monaco who had a serious auto accident, circa 1963 I think, there was definitely a before and after. Bill
celloguy i
I agree. She has started pushing her voice, singing rep. she has no business attempting, like Anna Bolena. As a result she is manipulating the tone in her lower register to feign larger sound. She sounds like a hooting owl in that part of her voice, instead of fresh and full the way she used to. The only part of her voice that sounds as it did before is her sparkling top range. Just a few notes, however, does not a voice make. It makes me sad that she is pushing herself into this rep. It will destroy her voice. She has also grown fatter and fatter -- don't blame pregnancy for that. She was much thinner during her pregnancy. I don't know if it's age, carelessness, a medical condition, or a conclusion that if she gets fat she'll be able to sing this bigger rep. It requires a 'fatter' sound, as it were, by which I mean fuller tone and richness throughout. She's a great actress but I thinks she's just throwing it all away. She was almost unrecognizable in the most recent Onegin. Laced in to her corset within an inch of her life. Her face is not literally disappearing. Makes me so sad because I love her instrument - despite its being pitchy since day one -- and her personality. She is a real star and should not allow her light to be dimmed by bad decisions and advice!
You people are DEAF, blind and jealous. I don't see an obese woman in this video. I see a fantastic singer and performer- maybe why she is famous and you're not.
Why does she fall on the floor in the end? Strange :)
She is supposed to open the window at the beginning of the next scene when the nanny comes in.
But I liked it better than the Met's version with Ms. Fleming. Plus it's "foreign accent-free" - not very important, but it IS a plus :)
l love her, su russian.. too bad is only the 2nd part.
If you are unable to understand the Russian, you probably have severe hearing difficulties, which would also explain your strange comments about the music.
I both understand her clearly and appreciate her interpretation.
As for age, I doubt if any one that is capable of singing this remotely well, is anywhere near the age to correctly physically portray the age of Tatiana.
Older ladies have ever portrayed teen age roles throughout opera history.
Opera fantasy rarely portrays correct age!
Je ne sais pas pourquoi, mais quand elle chante cette scène, elle fait souvent de fausses notes...
Mais son chant est quand même super.
oooooooooooo how good for you:(
Netrebko sings and understands Russian well ? Could it possibly be that it's because she IS Russian ?
As for her apparent weight gain, it could simply be a matter of her aging as happens to many of us. It could well have begun with the birth of her child, now 5 years old.
Потяжелела что-то и правда... Действительно, с Кубани))
Is that the movie?