I for the life of me can’t understand why she thinks she is a dramatic coloratura soprano. She is a full lyric soprano, maybe a little bit of a sprinto now. She is not however a dramatic coloratura. This aria is not for her.
Many sopranos try to become Primadonna assoluta by widening their repertoire, but it's impossible. To me she is not that aweful, she is just mediocre for the role, but acceptable. Most lyric sopranos look funny in this role. Of course the best are Callas and Dimitrova.
We were waiting for someone to bring up Callas . Between her steely voice and notes and along side the tension of waiting for her sour top notes, ( also her acting was like watching a silent movie) we will pass . Her PR has done an amazing job convincing people she was the GREATEST ! She was not !
@@tailor383 PR after 70 years? She is the best selling opera diva of all time. Despite any vocal problems, what makes her unrivalled is the expression of emotions. That is why she is so adored. Her acting is even studied by theatrologists and only that means something. Also, opera acting should be judged as viewed from a distance, not from close ups, but even close ups are thrilling.
This role, in my personal opinion, belongs to Shirley Verrett. She sang it like no other has. Ms. Netrebko has done a good job at it, but it is difficult to say more, when Shirley Verrett did an excellent job with this role. The standing ovations for her at La Scala when she sang it are legendary, need I say more.
Yeah but you can hear her career cutting in half as she sings it. Her voice was destroyed after those performances because she constantly opened her upper register to get her top notes to sound like a soprano. Listen to her Amelia and subsequent Carmen at La Scala afterwards. The voice is shredded to pieces. She has gaps in the middle range the size of a tectonic rift. Callas owned this role. Now Netrebko may be able to sing this aria so so, but the entire opera? NAHHHH! Just wait until she has to get through those killer concertantos at the ends of acts one and two. She can barely sing the coloratura here never mind the leaps and bounds during the party scene at the end of act 2.
Does it matter, all that comparison? Have you heard everybody singing that role to really know who has been or is the best? It´s all a matter of selection and opinion.
Altonahh10 I completely agree it's all a matter of opinion, and everybody has the right to one. But without comparison, how does anyone know what's the right or wrong way to do anything. This is an art form which has been passed down from generations over hundreds of years. If we just ignore what's been, then it just turns into senseless notes on a page. Dismissing historical performance traditions breaks the thread that goes back to the composer himself, and his original intentions for his work.
Marianna Barbieri Nini, soprano per cui fu scritta la parte della Lady in Macbeth, racconto' che solamente l'aria del sonnambulismo necessito' di TRE mesi di prove per raggiungere il livello che Verdi voleva. La sig.ra Netrebko dovrebbe solo imparare l'umilta' e capire cosa e quando puo' cantare.
perfettamente d'accordo con un appunto... gli acuti sono come vengono e poco tenuti e le note basse si sfilacciano o ballano, questo é quello che nell'ambiente si chiama "invecchiamento" precoce della voce da interpretazioni fuori ruolo... ci passò anche la Ricciarelli, purtroppo per la Netrebko lei é tutto meno che un soprano assoluto
Non è "una vocetta"....è che non è un soprano drammatico....la sua pecca è essere fuori ruolo e in generale fuori repertorio. Altrimenti il timbro è bello, dolce e omogeneo da soprano lirico. Trovo poco da "musicisti" vedere solo gli errori e non saper riconoscere le doti....certo quando canta quello che deve cantare. Poi i gusti esulano da tutto questo, ma non sono d'accordo nello stroncare crudelmente un'artista
This is mediocre! The voice is not suited. She is a lyric soprano not a dramatic soprano. The diction is poor, though it is easy to get it right in Italian ( a language coach won't cost that much). Gets comical towards the end!
she is actually fluent in italian, almost 20 years in the business, plus her diction is just fine, she was a lyric soprano before the baby, after that her voice got more heavier so she became a dramatic
an andy fluency in a language does not mean you have proper diction whilst singing. Its quite evident here that she doesn’t, especially if you actually listened to the words. It’s passable but that’s all. She’s always had weird vowel sounds in anything other than russian. Secondly she IS a lyric soprano. She was a lighter lyric before her baby but now she is a proper full lyric soprano. She is by NO MEANS a dramatic soprano in any shape or form of the fach and certainly not a dramatico coloratura soprano which is what this role really requires. She has never been a coloratura which is why her past repertoire full of coloratura roles has been mediocre in quality. Decent enough but not excellent. That’s generally how I describe her: Decent not Excellent. Please see the actual definitions for each of those words if you disagree.
LaDivinaLover I think ambition is getting the better of her, and to be fair, most lyric roles aren’t exactly complex and/or as juicy as say lady Macbeth are (though Verdi himself specifically said that Lady Macbeth should have a weird/“ugly” voice)...most of em, even the most famous ones, tend to be ingenue types (who aren’t necessarily the most complex of characters in theatre). I think she doesn’t want to be seen as an ingenue or whatever....
@@flannerymonaghan-morris1317 Ambition is good only when it's moderate and possible for your abilities. Netrebko wants to become better than Callas... But that's hybris. The extreme ambition becomes arrogance
I love her, but this role is not hers... sorry... This is super Macbeth, dramatic early-Verdi. And she doesn't have that in her voice. Some lighter more comfortable ranged tessitura Verdi might be good for her like: Leonora - Trovatore, Traviata, Desdemona but not Macbeth.
Yes, but she tries to sing everything and she is not Callas. She has strained her voice quite a bit over the last 10 years. She had a very beautiful lighter soprano voice. This aria she should never touch by her ever. There are several others on the internt that one can hear to find out what this aria requires. I understand it is a letter scene where she discovers incriminating information but Netrebko just more or less sashays on stage. She does not look comfortable either.
the reason is obvious" she's a lirico-leggero trying to biggen her voice, so she forces her tone to be bigger and darker as it naturally isn't...watch her "Caro Nome" performance in 1999, that''s when she sang with her real voice ;)
You think her intonation is bad now? Wait until next season's over when she's done doing Lady Macbeth and Leonora in one season. She won't be able sustain anything at pitch. I think it's the natural way she's been going since em"bark"ing on a career in the first place. She pushed Suzanna, Lucia, Elvira, Manon. She'll now push Leonora, Lady M, Tosca and probably Norma. Idiots will love her, as they did Guleghina, and she'll make lots of money. It'll be fun at least to watch it happen.
Strilla qua e là, é ingolata e spesso ha suoni aperti e respira fuori tempo ... é fortunata che oggi non ci siano grandi interpreti del passato, l'avrebbero polverizzata senza riserve.
+Der Fremde The sumptuous color, the range, the spinto power combined with lyric ability... Everything theoretically sums up to a great Leonora, an immortal Aida, a convincing Gilda, but her technique is so underwhelming... I sigh before the possibilities of what she could've become with adequate training....
As always, her coloratura is sloppy and imprecise. Apart from that, she is too taxed as this part is too heavy for a lyric soprano, and her interpretation is boring. To me, she represents all that is wrong with the opera world today: It's more important to be beautiful and thin, so you look good on stage and on dvd's, and to have a voice with little or no vibrato, so you record well, than to actually take the trouble to train your voice, work hard and sing the repertoire that is appropriate for your range and fach, which is what will do justice to the music and please the audience in the long run. This woman has had the operatic world before her feet for many years, so why does she keep on choosing the wrong parts - too light bel canto roles where the coloratura defeats her (her "Son vergin vezzosa" sung in half voice was atrocious) or too heavy roles like this one??
In my humble opinion, Anna Netrebko is the top opera singer today for the following 5 reasons: She can sing. She can act. She is very pretty - actually drop-dead gorgeous comes to mind. She has an incredible sense of timing in both comic and serious roles and finally and most important she sings with a primal energy that is unrivaled by any other singer. Again, this is my opinion, but what do I know? Just a hick from Minnesota.
Even if we didn't have Callas, Rysanek, Verrett and other greats singing this amazingly well (Callas owning it IMHO), she doesn't have the BITE or the TECHNIQUE for this role. What a disaster.
Rysanek, Marton, and Guleghina-style intonation and wobble creeping in. Without the sonic and dramatic impact (or assault), of course. Let alone the genial creation of Maria Callas. Let's see how long AN lasts. To her credit, she may be giving up for good the Moscow streetwalker act (e.g., "Meine Lippen") in favor of a less frivolous persona. Time will tell; again, if she lasts. Although she relapsed during her performance here, wholly out of character with what was to come or what went on before. Old habits die hard, it is said.
I sadly have to agree. This is SO not her rep. and yet Netrebko insists on trying to sing it. It is painful. And of course real dramatic sopranos are abandoned.
Disastro dal inizio alla fine! Peccato.Troppo urlata negli acuti e, nella tremenda cabaletta "Or tutti sorgete"piu volte sembra di avvertire delle difficoltà di respirazione, fiato ad ogni nota. Affaticata in maniera applausibile.Per non dimenticare le difficoltà della pronuncia.
+Kostas Paraskevas aggiungo che questo soprano , che oggi impone al Pubblico solo ruoli drammatici ha avuto vistosissimi problemi di fiato anche quando cantava come soprano leggero .saluti
The only one capable of singing the role like Verdi wanted is Callas.Every note is in place, not to mention the characterezation. Absolute genius. Even in 1962 in London she still sang an exciting La Luce Lanque.
non ci siamo. Questo ruolo non è per lei. E già il "retrocede" per inciso difficilissimo la fa sbandare. meglio stare sui ruoli da soprano lirico ma ormai la svolta l'ha già fatta sarà difficile tornare indietro.
Off pitch - not for her. And what a thick Russian accent when she recites the letter. One would think that an international career of so many years would yield pronunciation that would rid her of most of the Russian accent.
Ok for me this was the great surprise of the day! I have always thought how about Netrebko singing dramatic roles, but I never dared to imagine her singing Lady Macbeth... !
She is trying something that she has neither the voice (it's Beautiful yes, but thats not enough) nor the musical intelligence nor the temperament for.
immagino che se non l'assoluta ignoranza è l' incontrollabile presunzione che impedisce alle persone riconoscere i propri limiti diventando ridicoli. Ascoltarla vederla mi rattrista.
Эта ария предназначена для очень крепкого драматического сопрано, для Анны с ее лирическим сопрано никак не подходит. Нужно петь свой репертуар,объективно оценивая свои возможности.
This is definitely NOT for her!! It stretches her to the max, and the tempi are all off. Her upper register is flapping and pushed. She also is breathing in weird places. Almost embarassing.
THIS WAS WRITTEN BY VERDI FOR A MEZZO, ( A DIABOLIC DARK VOICE, IN VERDI'S OWN WORDS ). So it is wrong for the beginning, despite She mades a nice redemption & Gergiev mades Marinsky orquestra to sound like Angels... So Wrong, Wrong, Wrong
Non sarà la Callas. Non sarà una voce drammatica. Mi scrivete la lista di nomi di soprani drammatici ATTUALI, giovani, che sono adatti per questo ruolo, per favore? Non una, una lista perché non c'è un solo Teatro al mondo, vero?
What I have never understood is why someone with such a dark and heavy voice has such a weak low register? I hope she keeps this to concert repertoire only since this does not seem good for her voice...
I have to say that as a general summary it looks OK,but it's obvious that she is having some troubles with her low register. She is "closing" her voice to make it more heavy, but by doing this she is loosing her diction, which in this aria is very important...
Die Stimme kling dick und schwerfällig. Wenn man da eine Verrett hört, wie sie mit ungeheurer Kraft und Leichtigkeit durch das Stück fegt, dann erkennt man das Unvermögen einer Netrebko.
Déclamation embourbée, accent manquant de tranchant, de mordant. La lourdeur de la vocalisation et les problèmes d'intonation (2'40!!!) sont rédhibitoires hélas. Lyudmila Monastyrska avec un timbre assez proche est d'une toute autre rigueur et par suite autorité.
effortlessly as you will hear in any great soprano from Callas to Dimiitrova singing this role...I saw a clip of her in '99 singing Caro Nome, it was great, she was using her natural voice with a healthy, high placement, now I think marketing and fame have pushed her to biggen her voice and doing more exciting repertoire, but her natural instrument screams lirico-leggero and this is for a drammatico so...intonation and vocal placement are undeniable FACTS, nothing to do with jealousy trust me ;)
+Rainer Leiss The problem is that she's singing the wrong parts: the assoluta roles (Lady Macbeth being one of them) pose a challenge far too great for her. But I suppose her gifts would be better used if she were to sing late Verdi (La Forza, Othello, Faustaff) or Puccini.
Forza is too heavy. She's a full lyric soprano. Her rudimentary technique leaves her best suited for roles like Carmen and Giuditta where the acting sometimes takes first place to the singing anyway.
Her very beautiful voice is perfectly suited for this aria . The problem may be the technique as you said .The full support complies generally with less movements , especially for this kind of aria where you need to be well rooted to control the sound's projection...It doesn't mean there is less acting though...
The Artful Me soprano assoluta means a soprano that can perform any soprano repertoire. Lady Macbeth is a dramatic soprano role. Sometimes there's lack of drama in her voice because it's too sweet. It's just not perfect, but not bad.
NO CHANCE, ANNA! NO CHANCE!!! When there is such a singer as Lyudmila Monastyrska, who is born to sing Macbeth!!! Please better sing Meine Lippen, sie küssen so heiss...
Actually, a I thought a lot of his conducting in the gala was slower than it should be, so perhaps it was only his fault. I was told Netrebko had asked for a faster tempo in the rehearsals. I don't see how a much slower tempo like this would help her. This scene already poses a lot of breath challenges to any soprano, let alone a lyric singing this for the 1st time. I bet she'll be much better when she sings the whole opera with more time to rehearse.
Please! What is this? Leave Macbeth to the legends like Gencer, Callas, Galvany and Verrett. Stick to lighter roles girl.. And a big LOL at the audience for clapping this mess. Reminder: You need to listen with your ears not eyes..
Although I love her timbro, I don't think she is a good match for dramatic Verdi roles, unfortunately.. And her inaccurate pitch really bothers me. Bought tickets to see her in Macbeth at ROH and am getting slightly worried. Hopefully she has gotten better than this!
Personality obviously is not enough. Voice and technique are necessary. Netrebko falls far, far short of great performances of this area--for example, Verrett, Souliotis, Elizabeth Connell, and above all, Callas (especially in the two 1952 performances of this aria).
Aside from the ill-fitting gow, the slow tempo, the hackneyed movement, the vocalism doesn't rise to the level of even second-tier interpreters of the role such as Arroyo and Voigt who were vastly underated Lady's in various productions. IMHO, of course.
You of course being one of the "true experts". Good for you that you have the comment section on RUclips. At least that gives you one place in life where you can feel smarter than others.
Ich finde es sehr schade, dass Anna ihrer klaren Klang, lyrische Sopran verloren hatte. Am Anfang ihrer Karriere, sie hatte Engelstimme welcher für Bellini, Donizetti Rollen geeignete, nun singt sie eher dramatische Rollen, welche überhaupt nicht für ihre Stimme passen. Lady Macbeth ist nicht ihre Partie...nicht für ihre klare Stimme. Anna singt das sehr schwer und zu tief, seit ein paar Jahren, versucht sie sich als dramatische Sopran und deswegen ihre unikale und einzigartige Stimme verloren hat. Es wäre viel viel besser, wenn Anna mit ihrer kristallklaren Stimme weiterhin gesungen hätte und nicht gleich, als viele anderen Kolleginnen-Sopran
Die Netrebko war auch nicht für das Belcanto répertoire geeignet (Donizetti, Bellini etc) hören sie sich mal z. B. die Joan Sutherland in diesen Rollen an, das sind Welten....für eine Lucia di Lamnermoor oder eine La Sonnambula braucht es eine unglaubliche Virtuosität die ein lyrischen Sopran meistens in diesem Sinne nicht hat, dafür für andere Rollen wieder super geeignet. Die Netrebko singt als lyrischer Sopran schon die ganze zeit das falschen Fach, sie ist halt ein Produkt des heutigen Musikbusiness...das sich nur auf dem grossen Star konzentriert und eigentlich nicht auf die Musik 🎶dadurch ist ihre schöne Stimme leider schon ermüdet....
I think she has a lovely voice and is obviously physically beautiful, but please don't sing this role, Anna. The voice is too lyric, and getting older or gaining weight isn't going to change you from a lyric soprano into a dramatic soprano. Go back and watch yourself in "Meine Lippen Sie Kussen So Heiss" and work with that. If you have that kind of beauty, movement, and such a wonderful sound, why would you ever do anything else?
My personal guess would be that she probably isn't very intelligent. I mean - she started out with absolutely EXTRAORDINARY vocal material, but she didn't have the sense to train it properly. And in spite of having been at the absolute top of the operatic world for more than ten years, meaning that she can pick and choose her repertoire etc., she repeatedly chooses the wrong roles, both too light and too heavy. It all points in the direction that she isn't very bright. Sorry.
She’s too ambitious for her own good. Even though she’s a lyric (whose looks make her perfect for the more mature/elegant lyric parts), most lyric parts...are kinda flat characters admittedly. She wants the more juicy roles, and she has admitted she could care less for the fach system (she prefers to be called just a soprano than a lyric soprano). Compare her to Renee Fleming, who has for the most part stuck to roles in her fach range.
For someone who has sung quite q large number of coloratura roles, her coloratura is almost non existent. Other than that she manages better than I expected but resorts to over darkening her middle register. She can continue singing like this but I don't think for long.....
Non c'è NULLA della Callas nella N. E nella Lady, la N. (che canta tutto con lo stesso stile) manca appunto del pathos, del color cupo e delle smumature necessarie al ruolo. Manca totalmente di maestra nel recitare e come quasi sempre è totalmente incapace di variare la linea. Crea un colore artificiale che non convince. Ed il recitativo/l'aria non risumano il ruolo completo. La voce della N. è troppo bella per il ruolo. E manca l'intelligenza. E come nel repertorio francese, la N. è volgare.
Isn't she a full lyric? I mean when does the butchering stop. There are other roles she could sing soooo much better. But I guess when you're a superstar you can do what you want lol. No doubt she'll act the hell out of this role though.
she's a full lyric the same way Renata Tebaldi was a lyric soprano, meaning they had these humongously huge dramatic sounds and for some reason insist on calling themselves lyric, I mean, did you not hear this?
She WAS a full lyric - people, voices change. You dont need to die as a full lyric just because you were born one. Either she nails it, or she doesnt - THAT is the criteria
Acacia Bloom - voices DON'T change, just because some singers are unwise enough to change their repertoire. Nebtrebko is a full lyric, no matter how much she tries to scream her way through spinto repertoire.
She's not helped by the comatose conducting by Gergiev. Callas wouldn't even be able to make it work with such uninspired accompaniment. This is much, much better than the dislikes bar indicates. Some sloppy coloratura but gorgeous throughout the range.
Anna Netrebko is not a Verdian. Just listen to her sing, her voice just refuse to project outwards. You can hardly hear what she is singing. She sounds like she is swallowing her libretto. Her tone and diction all wrong.
Yes, in the crescendo parts a slower tempo can help, indeed, but the whole thing here was much slower than usual. I agree Netrebko's timbre is a warm, full lyric column of sound, though I think she has the ability to darken and sharpen it to roles like LM. That said, of course she'll never convey the same "evil" that dramatic sopranos or mezzos like Callas, Verrett or Nilsson could. Those will always be the reference interpretations of this role, even if Netrebko is wonderful and versatile.
I don't think she is planning to sing this in opera any time soon, she just tried an aria in concert, but she isn't planning to take on dramatic soprano roles any time soon as she clearly said in an interview.
In my opinion, she's not singing in the natural way that sang in such roles as Adina and Norina. This manufactured, much darker than when she Norina and Adina. If you listen to her debut album, her Desdemona was wonderful and natural. I don't know why she changed her technique
Netrebko used to be a lyric soprano, but after she had the baby her voice "grew" or matured and she has developed her technique to sing more dramatic roles. This is the year of Verdi, so she is releasing a Verdi album and performing Verdi operas. She just sings what she wants and pays no attention to what any of us says. Her husband and colleagues do not seem to object.
She really has no business singing this. You need a real dramatic soprano to sing this role, and although her voice has matured, she's at most a juicy lyric or maybe a spinto. She might be able to pull off Trovatore (her D'amor sul ali was lovely), but this is way beyond her voice and technique. The cabaletta was a mess, especially at the end. Just listen to Callas's 1952 Scala live recording to see what's it's supposed to sound like.
Regarding the slower tempo that could help her I was refereering to the crescendo parts that need agility to respect all the notes. By stretching the tempo it could be easier to fullfill respectfully all the fast notes.
Even though I don't like Anna much, I really do wish she would find a middle ground. You can hear she's trying to head towards disaster, Norma! Her runs just aren't good. I would say she could be fantastic in my favourite opera, La Forza del Destino. It's perfect for her. No runs, but a grand role which hasn't been performed well in years. The Met should revive the Del Monaco production for her.
No one's actually envious, it's just about pointing objective musical problems, which have to be considered in addition to personal taste. Anna's beautiful, she has great stage presence, potentially a great voice, too, but she sings all in the throat without the right, healthy mask resonance to make the voice bigger and darker, this makes her tone flat, no nuances, and intonation is often flat, on the acuti you can hear very well the muchos, the effort of the throat rather then the sound flying
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I for the life of me can’t understand why she thinks she is a dramatic coloratura soprano. She is a full lyric soprano, maybe a little bit of a sprinto now. She is not however a dramatic coloratura. This aria is not for her.
I have never seen anyone shirk this much coloratura so blatantly as Anna. I mean she really said “Macbeth, but make it Puccini.”
No one can compare with Shirley Verrett. She was amazing in this role: paragon of perfection.
It is a disaster. She does not reach the high notes, she is wrong in the low ones but she is very pretty
Ghena Dimitrova had three times the size of netrebko's voice and actually executed the coloraturas, not smearing the notes like here.
And there's the massive difference
Beautiful voice, we love you Anna !! Thanks for bringing us this gift.
Many sopranos try to become Primadonna assoluta by widening their repertoire, but it's impossible. To me she is not that aweful, she is just mediocre for the role, but acceptable. Most lyric sopranos look funny in this role. Of course the best are Callas and Dimitrova.
+aiolosgr I'd also add Verrett to that list; she was a fine lady Macbeth.
We were waiting for someone to bring up Callas . Between her steely voice and notes and along side the tension of waiting for her sour top notes, ( also her acting was like watching a silent movie) we will pass . Her PR has done an amazing job convincing people she was the GREATEST ! She was not !
@@tailor383 PR after 70 years? She is the best selling opera diva of all time. Despite any vocal problems, what makes her unrivalled is the expression of emotions. That is why she is so adored. Her acting is even studied by theatrologists and only that means something. Also, opera acting should be judged as viewed from a distance, not from close ups, but even close ups are thrilling.
This role, in my personal opinion, belongs to Shirley Verrett. She sang it like no other has. Ms. Netrebko has done a good job at it, but it is difficult to say more, when Shirley Verrett did an excellent job with this role. The standing ovations for her at La Scala when she sang it are legendary, need I say more.
Yeah but you can hear her career cutting in half as she sings it. Her voice was destroyed after those performances because she constantly opened her upper register to get her top notes to sound like a soprano. Listen to her Amelia and subsequent Carmen at La Scala afterwards. The voice is shredded to pieces. She has gaps in the middle range the size of a tectonic rift. Callas owned this role. Now Netrebko may be able to sing this aria so so, but the entire opera? NAHHHH! Just wait until she has to get through those killer concertantos at the ends of acts one and two. She can barely sing the coloratura here never mind the leaps and bounds during the party scene at the end of act 2.
Does it matter, all that comparison? Have you heard everybody singing that role to really know who has been or is the best? It´s all a matter of selection and opinion.
Altonahh10 I completely agree it's all a matter of opinion, and everybody has the right to one. But without comparison, how does anyone know what's the right or wrong way to do anything. This is an art form which has been passed down from generations over hundreds of years. If we just ignore what's been, then it just turns into senseless notes on a page. Dismissing historical performance traditions breaks the thread that goes back to the composer himself, and his original intentions for his work.
I would say that Ghena Dimitrova's version is a way better than Verrett's :)
Alex Thomas I agree with Alex: it's all a matter of opinion, and my opinion is that Callas owned this role.
Gergiev falling asleep and Netrebko trying to find the key to Lady Macbeth´s soul. Unfortunately a terrible match without fire and the depth needed.
Yep.
Nilsson's my favourite lady Macbeth
@@crazyorganist1609 Mine is Callas, but Nilsson is certainly up there, along with Verrett and Cossotto.
@@xxsaruman82xx87 I like callas but Nilsson brought the power Verdi wanted
I wonder if she realises that she is neither a coloratura nor a dramatic soprano...
And neither a Falcon soprano!!!
Maybe I am fascinated by voices like Dimitrova. Callas. Verrett which incarnated differently from each other this character in a perfect way.
Marianna Barbieri Nini, soprano per cui fu scritta la parte della Lady in Macbeth, racconto' che solamente l'aria del sonnambulismo necessito' di TRE mesi di prove per raggiungere il livello che Verdi voleva. La sig.ra Netrebko dovrebbe solo imparare l'umilta' e capire cosa e quando puo' cantare.
La prossima volta cosa canterà? farà Cavaradossi o Fiesco?
Oppure Otello 😂
perche canta fuori del suo repertorio.....
perfettamente d'accordo con un appunto... gli acuti sono come vengono e poco tenuti e le note basse si sfilacciano o ballano, questo é quello che nell'ambiente si chiama "invecchiamento" precoce della voce da interpretazioni fuori ruolo... ci passò anche la Ricciarelli, purtroppo per la Netrebko lei é tutto meno che un soprano assoluto
non la canta come ha scritto Verdi :(
Horrible. Awful. Poorest coloratura, no dramatic voice. Stop playing soprano assoluta, Netrebko. You are not one.
Inascoltabile! Come può pensare di interpretare la Lady con una vocetta come la sua dopo le injsuperabili Callas e Verret?
Samuel6969ify ma veramente, ben detto...non so come possa avere estimatori tra i musicisti
Non è "una vocetta"....è che non è un soprano drammatico....la sua pecca è essere fuori ruolo e in generale fuori repertorio. Altrimenti il timbro è bello, dolce e omogeneo da soprano lirico. Trovo poco da "musicisti" vedere solo gli errori e non saper riconoscere le doti....certo quando canta quello che deve cantare. Poi i gusti esulano da tutto questo, ma non sono d'accordo nello stroncare crudelmente un'artista
wtf with that slow tempo? Stidno vam, Valery.
This is mediocre! The voice is not suited. She is a lyric soprano not a dramatic soprano. The diction is poor, though it is easy to get it right in Italian ( a language coach won't cost that much). Gets comical towards the end!
she is actually fluent in italian, almost 20 years in the business, plus her diction is just fine, she was a lyric soprano before the baby, after that her voice got more heavier so she became a dramatic
an andy fluency in a language does not mean you have proper diction whilst singing. Its quite evident here that she doesn’t, especially if you actually listened to the words. It’s passable but that’s all. She’s always had weird vowel sounds in anything other than russian.
Secondly she IS a lyric soprano. She was a lighter lyric before her baby but now she is a proper full lyric soprano. She is by NO MEANS a dramatic soprano in any shape or form of the fach and certainly not a dramatico coloratura soprano which is what this role really requires. She has never been a coloratura which is why her past repertoire full of coloratura roles has been mediocre in quality. Decent enough but not excellent. That’s generally how I describe her: Decent not Excellent.
Please see the actual definitions for each of those words if you disagree.
LaDivinaLover I think ambition is getting the better of her, and to be fair, most lyric roles aren’t exactly complex and/or as juicy as say lady Macbeth are (though Verdi himself specifically said that Lady Macbeth should have a weird/“ugly” voice)...most of em, even the most famous ones, tend to be ingenue types (who aren’t necessarily the most complex of characters in theatre). I think she doesn’t want to be seen as an ingenue or whatever....
I mean most complex of characters in opera.
@@flannerymonaghan-morris1317 Ambition is good only when it's moderate and possible for your abilities. Netrebko wants to become better than Callas... But that's hybris.
The extreme ambition becomes arrogance
I love her, but this role is not hers... sorry... This is super Macbeth, dramatic early-Verdi. And she doesn't have that in her voice. Some lighter more comfortable ranged tessitura Verdi might be good for her like: Leonora - Trovatore, Traviata, Desdemona but not Macbeth.
Yes, but she tries to sing everything and she is not Callas. She has strained her voice quite a bit over the last 10 years. She had a very beautiful lighter soprano voice. This aria she should never touch by her ever. There are several others on the internt that one can hear to find out what this aria requires. I understand it is a letter scene where she discovers incriminating information but Netrebko just more or less sashays on stage. She does not look comfortable either.
the reason is obvious" she's a lirico-leggero trying to biggen her voice, so she forces her tone to be bigger and darker as it naturally isn't...watch her "Caro Nome" performance in 1999, that''s when she sang with her real voice ;)
You think her intonation is bad now? Wait until next season's over when she's done doing Lady Macbeth and Leonora in one season. She won't be able sustain anything at pitch. I think it's the natural way she's been going since em"bark"ing on a career in the first place. She pushed Suzanna, Lucia, Elvira, Manon. She'll now push Leonora, Lady M, Tosca and probably Norma. Idiots will love her, as they did Guleghina, and she'll make lots of money. It'll be fun at least to watch it happen.
This is subtitled "Manon Goes to Hell!"
Strilla qua e là, é ingolata e spesso ha suoni aperti e respira fuori tempo ... é fortunata che oggi non ci siano grandi interpreti del passato, l'avrebbero polverizzata senza riserve.
GB concordo su tutta l’analisi: aggiungo però che ora c’è Saioa Hernandez (il “talento di questo secolo “, come la definì la Caballé)
I think it's a voice well adapted to Verdi... it is a shame she does not have the technique to support it.
+Der Fremde The sumptuous color, the range, the spinto power combined with lyric ability... Everything theoretically sums up to a great Leonora, an immortal Aida, a convincing Gilda, but her technique is so underwhelming... I sigh before the possibilities of what she could've become with adequate training....
She isn't a spinto, she's a lyric. A full lyric but still a lyric. If she was a spinto, she wouldn't sound so taxed in this repertoire.
I actually think she has spinto qualities. But her Macbeth is still not good nonetheless
As always, her coloratura is sloppy and imprecise. Apart from that, she is too taxed as this part is too heavy for a lyric soprano, and her interpretation is boring. To me, she represents all that is wrong with the opera world today: It's more important to be beautiful and thin, so you look good on stage and on dvd's, and to have a voice with little or no vibrato, so you record well, than to actually take the trouble to train your voice, work hard and sing the repertoire that is appropriate for your range and fach, which is what will do justice to the music and please the audience in the long run. This woman has had the operatic world before her feet for many years, so why does she keep on choosing the wrong parts - too light bel canto roles where the coloratura defeats her (her "Son vergin vezzosa" sung in half voice was atrocious) or too heavy roles like this one??
I wish I didn't agree - but I do to 100%....
In my humble opinion, Anna Netrebko is the top opera singer today for the following 5 reasons: She can sing. She can act. She is very pretty - actually drop-dead gorgeous comes to mind. She has an incredible sense of timing in both comic and serious roles and finally and most important she sings with a primal energy that is unrivaled by any other singer. Again, this is my opinion, but what do I know? Just a hick from Minnesota.
Top opera singer?... Nah.
Actually saw her live in macbeth two weeks ago. She was something else
Even if we didn't have Callas, Rysanek, Verrett and other greats singing this amazingly well (Callas owning it IMHO), she doesn't have the BITE or the TECHNIQUE for this role. What a disaster.
дура ты, девочка , *б твою мать !
Rysanek, Marton, and Guleghina-style intonation and wobble creeping in. Without the sonic and dramatic impact (or assault), of course. Let alone the genial creation of Maria Callas. Let's see how long AN lasts. To her credit, she may be giving up for good the Moscow streetwalker act (e.g., "Meine Lippen") in favor of a less frivolous persona. Time will tell; again, if she lasts. Although she relapsed during her performance here, wholly out of character with what was to come or what went on before. Old habits die hard, it is said.
I sadly have to agree. This is SO not her rep. and yet Netrebko insists on trying to sing it. It is painful. And of course real dramatic sopranos are abandoned.
She's no Rysanek, that's for sure!
+Dan Bridston Or no verrett, or Dimitrova, of course.
Disastro dal inizio alla fine! Peccato.Troppo urlata negli acuti e, nella tremenda cabaletta "Or tutti sorgete"piu volte sembra di avvertire delle difficoltà di respirazione, fiato ad ogni nota. Affaticata in maniera applausibile.Per non dimenticare le difficoltà della pronuncia.
+Kostas Paraskevas
aggiungo che questo soprano , che oggi impone al Pubblico solo ruoli drammatici ha avuto vistosissimi problemi di fiato anche quando cantava come soprano leggero .saluti
The only one capable of singing the role like Verdi wanted is Callas.Every note is in place, not to mention the characterezation. Absolute genius. Even in 1962 in London she still sang an exciting La Luce Lanque.
Christian Wijnoogst I completely agree with you.
Bruna Marini 👍👍👍👍👍👍
Konstantinos Schmidveiller Eva's 👍👍👍👍👍👍
non ci siamo. Questo ruolo non è per lei. E già il "retrocede" per inciso difficilissimo la fa sbandare. meglio stare sui ruoli da soprano lirico ma ormai la svolta l'ha già fatta sarà difficile tornare indietro.
Off pitch - not for her. And what a thick Russian accent when she recites the letter. One would think that an international career of so many years would yield pronunciation that would rid her of most of the Russian accent.
Her Russian accent is beautiful. She will never let that go. 👑👑👑👑
Whatever there once was to Netrebko (and I never thought there was much), it's gone. This is neither musical nor true to the score.
Ok for me this was the great surprise of the day! I have always thought how about Netrebko singing dramatic roles, but I never dared to imagine her singing Lady Macbeth... !
Oh dear, what is she doing? And why?
She is trying something that she has neither the voice (it's Beautiful yes, but thats not enough) nor the musical intelligence nor the temperament for.
Nor the technique!
Quando capirà la Netrebko che è un soprano lirico? Ormai la sua voce purtroppo ora è già affaticata....
immagino che se non l'assoluta ignoranza è l' incontrollabile presunzione che impedisce alle persone riconoscere i propri limiti diventando ridicoli. Ascoltarla vederla mi rattrista.
Эта ария предназначена для очень крепкого драматического сопрано, для Анны с ее лирическим сопрано никак не подходит. Нужно петь свой репертуар,объективно оценивая свои возможности.
This is definitely NOT for her!! It stretches her to the max, and the tempi are all off. Her upper register is flapping and pushed. She also is breathing in weird places. Almost embarassing.
Verdi si sta rigirando nella tomba...
non mi piace.. non mi piace.. non ha niente della lady fuori repertorio
THIS WAS WRITTEN BY VERDI FOR A MEZZO, ( A DIABOLIC DARK VOICE, IN VERDI'S OWN WORDS ).
So it is wrong for the beginning, despite She mades a nice redemption & Gergiev mades Marinsky orquestra to sound like Angels...
So Wrong, Wrong, Wrong
I'll keep Verrett, Callas and Cossotto, thanks very much.
Non sarà la Callas. Non sarà una voce drammatica. Mi scrivete la lista di nomi di soprani drammatici ATTUALI, giovani, che sono adatti per questo ruolo, per favore? Non una, una lista perché non c'è un solo Teatro al mondo, vero?
Attila Cs. Bankuti la lista purtroppo rimane vuota.....
What I have never understood is why someone with such a dark and heavy voice has such a weak low register? I hope she keeps this to concert repertoire only since this does not seem good for her voice...
Воздух свистит между связками. Не смыкание полнейшее. Спасибо!
I have to say that as a general summary it looks OK,but it's obvious that she is having some troubles with her low register. She is "closing" her voice to make it more heavy, but by doing this she is loosing her diction, which in this aria is very important...
Die Stimme kling dick und schwerfällig. Wenn man da eine Verrett hört, wie sie mit ungeheurer Kraft und Leichtigkeit durch das Stück fegt, dann erkennt man das Unvermögen einer Netrebko.
BRAVO!!!!!!!!!!!!!! :))))
Déclamation embourbée, accent manquant de tranchant, de mordant. La lourdeur de la vocalisation et les problèmes d'intonation (2'40!!!) sont rédhibitoires hélas. Lyudmila Monastyrska avec un timbre assez proche est d'une toute autre rigueur et par suite autorité.
effortlessly as you will hear in any great soprano from Callas to Dimiitrova singing this role...I saw a clip of her in '99 singing Caro Nome, it was great, she was using her natural voice with a healthy, high placement, now I think marketing and fame have pushed her to biggen her voice and doing more exciting repertoire, but her natural instrument screams lirico-leggero and this is for a drammatico so...intonation and vocal placement are undeniable FACTS, nothing to do with jealousy trust me ;)
Demasiado Macbeth para la voz de la Netrebko!!!!!!
Her singing and her voice lacks almost everything a great Verdi singer needs!
+Rainer Leiss The problem is that she's singing the wrong parts: the assoluta roles (Lady Macbeth being one of them) pose a challenge far too great for her. But I suppose her gifts would be better used if she were to sing late Verdi (La Forza, Othello, Faustaff) or Puccini.
Forza is too heavy. She's a full lyric soprano. Her rudimentary technique leaves her best suited for roles like Carmen and Giuditta where the acting sometimes takes first place to the singing anyway.
Her very beautiful voice is perfectly suited for this aria . The problem may be the technique as you said .The full support complies generally with less movements , especially for this kind of aria where you need to be well rooted to control the sound's projection...It doesn't mean there is less acting though...
MadonnaImperia Carmen??? What??? She's a soprano, not a mezzo! Your comment shows that you understand nothing in opera
The Artful Me soprano assoluta means a soprano that can perform any soprano repertoire. Lady Macbeth is a dramatic soprano role. Sometimes there's lack of drama in her voice because it's too sweet. It's just not perfect, but not bad.
NO CHANCE, ANNA! NO CHANCE!!! When there is such a singer as Lyudmila Monastyrska, who is born to sing Macbeth!!! Please better sing Meine Lippen, sie küssen so heiss...
Not her role! Please change
Actually, a I thought a lot of his conducting in the gala was slower than it should be, so perhaps it was only his fault. I was told Netrebko had asked for a faster tempo in the rehearsals. I don't see how a much slower tempo like this would help her. This scene already poses a lot of breath challenges to any soprano, let alone a lyric singing this for the 1st time. I bet she'll be much better when she sings the whole opera with more time to rehearse.
Please! What is this? Leave Macbeth to the legends like Gencer, Callas, Galvany and Verrett. Stick to lighter roles girl.. And a big LOL at the audience for clapping this mess. Reminder: You need to listen with your ears not eyes..
You forgot Nilsson
cose come queste dovrebbero essere vietate XD
Assolutamente d'accordo.
Anch'io sono assolutamente d'accordo
Esatto!
Although I love her timbro, I don't think she is a good match for dramatic Verdi roles, unfortunately.. And her inaccurate pitch really bothers me. Bought tickets to see her in Macbeth at ROH and am getting slightly worried. Hopefully she has gotten better than this!
Molto inespressiva! E poi questo non è il suo repertorio.
Ci vuole un soprano drammatico!!!
Altroché! Un soprano Falcon ci vuole!
Qui ci vuole una Callas o una Dimitrova....
O una Verrett! 🤩
Personality obviously is not enough. Voice and technique are necessary. Netrebko falls far, far short of great performances of this area--for example, Verrett, Souliotis, Elizabeth Connell, and above all, Callas (especially in the two 1952 performances of this aria).
I saw Monastyrska's Met debut in-house. She was electrifying
Beautiful! Amazing voice!
In roles like Mimì she's good.
Aside from the ill-fitting gow, the slow tempo, the hackneyed movement, the vocalism doesn't rise to the level of even second-tier interpreters of the role such as Arroyo and Voigt who were vastly underated Lady's in various productions. IMHO, of course.
I just can't understand why so many love her singing. True experts know better. (Listen to Shirley Verrett and compare.)
You of course being one of the "true experts". Good for you that you have the comment section on RUclips. At least that gives you one place in life where you can feel smarter than others.
Ich finde es sehr schade, dass Anna ihrer klaren Klang, lyrische Sopran verloren hatte. Am Anfang ihrer Karriere, sie hatte Engelstimme welcher für Bellini, Donizetti Rollen geeignete, nun singt sie eher dramatische Rollen, welche überhaupt nicht für ihre Stimme passen. Lady Macbeth ist nicht ihre Partie...nicht für ihre klare Stimme.
Anna singt das sehr schwer und zu tief, seit ein paar Jahren, versucht sie sich als dramatische Sopran und deswegen ihre unikale und einzigartige Stimme verloren hat.
Es wäre viel viel besser, wenn Anna mit ihrer kristallklaren Stimme weiterhin gesungen hätte und nicht gleich, als viele anderen Kolleginnen-Sopran
Wann war sie jemals für Bellini und Donizetti geeignet? Amina, Elvira, Lucia ... alles schlechtes Mittelmaß
Die Netrebko war auch nicht für das Belcanto répertoire geeignet (Donizetti, Bellini etc) hören sie sich mal z. B. die Joan Sutherland in diesen Rollen an, das sind Welten....für eine Lucia di Lamnermoor oder eine La Sonnambula braucht es eine unglaubliche Virtuosität die ein lyrischen Sopran meistens in diesem Sinne nicht hat, dafür für andere Rollen wieder super geeignet.
Die Netrebko singt als lyrischer Sopran schon die ganze zeit das falschen Fach, sie ist halt ein Produkt des heutigen Musikbusiness...das sich nur auf dem grossen Star konzentriert und eigentlich nicht auf die Musik 🎶dadurch ist ihre schöne Stimme leider schon ermüdet....
I think she has a lovely voice and is obviously physically beautiful, but please don't sing this role, Anna. The voice is too lyric, and getting older or gaining weight isn't going to change you from a lyric soprano into a dramatic soprano. Go back and watch yourself in "Meine Lippen Sie Kussen So Heiss" and work with that. If you have that kind of beauty, movement, and such a wonderful sound, why would you ever do anything else?
My personal guess would be that she probably isn't very intelligent. I mean - she started out with absolutely EXTRAORDINARY vocal material, but she didn't have the sense to train it properly. And in spite of having been at the absolute top of the operatic world for more than ten years, meaning that she can pick and choose her repertoire etc., she repeatedly chooses the wrong roles, both too light and too heavy. It all points in the direction that she isn't very bright. Sorry.
She’s too ambitious for her own good. Even though she’s a lyric (whose looks make her perfect for the more mature/elegant lyric parts), most lyric parts...are kinda flat characters admittedly. She wants the more juicy roles, and she has admitted she could care less for the fach system (she prefers to be called just a soprano than a lyric soprano). Compare her to Renee Fleming, who has for the most part stuck to roles in her fach range.
Misfortune for us that she sometimes choses her repertory wrong. She will cry, of course, all the way to the bank. :)
capisce cosa dice?
For someone who has sung quite q large number of coloratura roles, her coloratura is almost non existent. Other than that she manages better than I expected but resorts to over darkening her middle register. She can continue singing like this but I don't think for long.....
Non c'è NULLA della Callas nella N. E nella Lady, la N. (che canta tutto con lo stesso stile) manca appunto del pathos, del color cupo e delle smumature necessarie al ruolo. Manca totalmente di maestra nel recitare e come quasi sempre è totalmente incapace di variare la linea. Crea un colore artificiale che non convince. Ed il recitativo/l'aria non risumano il ruolo completo. La voce della N. è troppo bella per il ruolo. E manca l'intelligenza. E come nel repertorio francese, la N. è volgare.
completamente fuori repertorio e i soliti fiati corti!
Thomas Gobbetti vero!
Esatto!
Isn't she a full lyric? I mean when does the butchering stop. There are other roles she could sing soooo much better. But I guess when you're a superstar you can do what you want lol. No doubt she'll act the hell out of this role though.
she's a full lyric the same way Renata Tebaldi was a lyric soprano, meaning they had these humongously huge dramatic sounds and for some reason insist on calling themselves lyric, I mean, did you not hear this?
She WAS a full lyric - people, voices change. You dont need to die as a full lyric just because you were born one. Either she nails it, or she doesnt - THAT is the criteria
Acacia Bloom - voices DON'T change, just because some singers are unwise enough to change their repertoire. Nebtrebko is a full lyric, no matter how much she tries to scream her way through spinto repertoire.
Wonderful ANNA !!!!!!!
Very beautiful
Tana Dimitrova
Leontyne Price "biggest Lady Macbeth"? She never sang this role hehe
She's not helped by the comatose conducting by Gergiev. Callas wouldn't even be able to make it work with such uninspired accompaniment. This is much, much better than the dislikes bar indicates. Some sloppy coloratura but gorgeous throughout the range.
Anna Netrebko is not a Verdian. Just listen to her sing, her voice just refuse to project outwards. You can hardly hear what she is singing. She sounds like she is swallowing her libretto. Her tone and diction all wrong.
BRAAAVAAA!!
Beautiful tone. ❤
La más grande. Muchas gracias
SHAME on you Maestro Gergiev for allowing this travesty!!!!
Great Anna!!!
Yes, in the crescendo parts a slower tempo can help, indeed, but the whole thing here was much slower than usual. I agree Netrebko's timbre is a warm, full lyric column of sound, though I think she has the ability to darken and sharpen it to roles like LM. That said, of course she'll never convey the same "evil" that dramatic sopranos or mezzos like Callas, Verrett or Nilsson could. Those will always be the reference interpretations of this role, even if Netrebko is wonderful and versatile.
But with the slow tempo moderate for her voice she doesn't hit the high notes, and she's unsure and wrong on the low ones.
At the risk of appearing ungallant my first reaction was "Hasn't she put on weight?"
Unexpectedly, but it is beautiful.
It is pleasant to me.
Very much touches soul.
Lady Macbeth is a transitional role among bel canto and realism. It's a very hard role because it.
artist has the right to interpret even if you do not like this
I don't think she is planning to sing this in opera any time soon, she just tried an aria in concert, but she isn't planning to take on dramatic soprano roles any time soon as she clearly said in an interview.
In my opinion, she's not singing in the natural way that sang in such roles as Adina and Norina. This manufactured, much darker than when she Norina and Adina. If you listen to her debut album, her Desdemona was wonderful and natural. I don't know why she changed her technique
Una cantante verista dovrebbe lasciare questo repertorio. Non ha la voce ben educata per questi ruoli.
Tristissimo!
si è vero !!!
Netrebko used to be a lyric soprano, but after she had the baby her voice "grew" or matured and she has developed her technique to sing more dramatic roles. This is the year of Verdi, so she is releasing a Verdi album and performing Verdi operas. She just sings what she wants and pays no attention to what any of us says. Her husband and colleagues do not seem to object.
Bill Sava;Dear Ana;this is not for you.Check Shirley Verrett how is the right way to do.
She really has no business singing this. You need a real dramatic soprano to sing this role, and although her voice has matured, she's at most a juicy lyric or maybe a spinto. She might be able to pull off Trovatore (her D'amor sul ali was lovely), but this is way beyond her voice and technique. The cabaletta was a mess, especially at the end. Just listen to Callas's 1952 Scala live recording to see what's it's supposed to sound like.
Regarding the slower tempo that could help her I was refereering to the crescendo parts that need agility to respect all the notes. By stretching the tempo it could be easier to fullfill respectfully all the fast notes.
Even though I don't like Anna much, I really do wish she would find a middle ground. You can hear she's trying to head towards disaster, Norma! Her runs just aren't good. I would say she could be fantastic in my favourite opera, La Forza del Destino. It's perfect for her. No runs, but a grand role which hasn't been performed well in years. The Met should revive the Del Monaco production for her.
Forza is too heavy for her. She's a lyric soprano, a full lyric but still a lyric. Forza needs a spinto or a dramatic soprano.
orrendo
I don't konw what's worse: her interpretation or her dress!
No one's actually envious, it's just about pointing objective musical problems, which have to be considered in addition to personal taste. Anna's beautiful, she has great stage presence, potentially a great voice, too, but she sings all in the throat without the right, healthy mask resonance to make the voice bigger and darker, this makes her tone flat, no nuances, and intonation is often flat, on the acuti you can hear very well the muchos, the effort of the throat rather then the sound flying