Will be a fan of Putin, and as a warrior that likes to blow off steam by pulling with kalashnikov –this is not a metaphor – for the field. But, my mother, how she sings! Anna Netrebko made it clear who is number one in the spectrum of the great sopranos dramatic this Friday night at the Royal Theatre after an absence of 18 years.
MORE INFORMATION
God save the queen, Anna Netrebko, instinct and heart
he Came escorted by the tenor algerian Yusif Eyvazov, your current husband, and by the british Christopher Maltman, a baritone verdiano reference. In fact, the whole first part of the recital, prior to the verismo and Puccini in the second, was dedicated to the Italian composer: one of the most fundamental of Netrebko throughout his career. On Verdi began his kingdom international with a Traviata in Salzburg in 2005, and with Verdi has been known to reinvent from a repertoire more light into these chasms dramatic.
What happens with it is that it has done so in a big way. Not for a second chance, no more. But aware of the physical changes that he noticed in his voice from her maternity leave for the past 11 years, leading inevitably to other places. Netrebko knew to anticipate, and has focused both on the regeneration that has gone on to be the absolute queen in the roles we choose in the present.
expand photo The tenor british Christopher Maltman. Javier del Real
From the start, to address the third piece of the recital, Netrebko raised the level to heights well above the possibilities of the rest. Tu che le vanità, aria Isabella of Valois sung in the fifth act of Don Carlo at the tomb of the emperor, rose up as the first brave. When the audience had surrendered to the fragility of a character as a prisoner of a fate not sought, with a single gesture –and a certain costume change – Netrebko went on to be Lady Macbeth. His hands malefic extended on the back of Maltman you were already in the field rotting in the shakespearian drama. Your dynamic attitude on the stage, his magnetism towards a precise character in every situation, exercised an attraction that drew the audience in every moment.
Netrebko was amazed with a talent for music around the exhibition to delight in the serious and the pianísimos. Demonstrated mastery at the time of the radical change of environments and psychologies by means of minimum resources. Their appearances were thus a lesson of attitude, well above the expected correction of their companions.
it is Not that they will leave indifferent to the public: they sang well. Maltman made gala of his power, though the blast of his voice is such that you subtract other types of nuances. Eyvazov with dominion over the whole of the verismo –wore in Mamma, quel vino è generoso from Cavalleria rusticana (Pietro Mascagni) and I would have been able to shine even more in E lucevan le stelle, the aria of Tosca, if Denis Vlasenko, the aspiring director who was in charge of the orchestra, had not been amarrategui on the flight that requires Puccini. Both to prevent, as much care, damaged the brightness of the singers in a few moments. The attitude of dying, languid and nap on the day of All the saints on the part of the orchestra didn’t help.
expand photo Anna Netrebko, in the scenario of the Real. Javier del Real
neither more Nor less, which since 2001 had Netrebko not appear in Madrid. It was not the star he is today when we saw in War and Peace, by Prokofiev, conducted by Valeri Gergiev. The comparative effect that their masterful skills offered in the parts of Don Carlo, Trovatore and Macbeth, recently staged in the Real, they talk about the mediocrity that lately dominates the deals they walk by the theater.
it is Not a matter of wielding names, but it does demand more ambition in this field to not be satisfied with anything is the rule. The risk for choice of some titles and stage directors, opens a chasm with the voices and some batons. A hurricane such as the step of Netrebko puts in evidence many things and picks up the colors. Gives an idea of how far away go now, the Actual of a first division member in the distributions, as would be expected. The next appearance of Javier Camarena in Il pirate can keep the hunger that we have awakened now Netrebko.
