Netrebko on Instagram

Yesterday Anna Netrebko took over the Instagram account of the Staatsoper Berlin.  A versatile individual, she does Daniel Barenboim's makeup, and films on the stage during the performance.  Here is the film she took while singing.  I have photographs I took from the wings, but nothing like this.  I'm speechless.

Brahms Cello Sonata

Someone played this movement from the Brahms first cello sonata today at a meeting I attended.  This would be the main problem with obsessing over opera--Brahms did not write any opera.  I think today was the first time I heard this wonderful piece, here played by Jacqueline Du Pré and Daniel Barenboim.

The Leontyne Price Requiem

I was raised on this.  Leontyne Price was the greatest Verdi singer that ever lived, and she wails this like no one else.  Watch how relaxed she is in her body when she sings.  The energy all goes into the phrase.  Karajan loved her and said she gave him goosebumps.

But I like to hear new things, new voices, new phrasing.  They are not required to top Ms Price because no one ever will.  I notice the more I blog about music the more love I feel, both for the music and for the artists making it.

The new Barenboim recording has soloists that all come from Germany and Latvia, singers who feel it differently.  I don't require other singer's to top Leontyne Price, but could they please try to wail just a bit now and then.

Footnote.

This is Renata Scotto, and she definitely wails.

Anna Netrebko Interview

This is my usual translation of an interview here.  Jump over to the article to see the pictures.

Anna Netrebko: "I always listen to my voice" The Star soprano about Lady Macbeth, her change of voice category, her plans and her small, big luck. She need not sing, and would still be one of the absolute stars of the Salzburg Festival 2013: Anna Netrebko. There is hardly an opera premiere on the river Salzach in which the Russian soprano with Austrian citizenship is not in the center - if only as an interested listener. If she also sings, already general rapture is announced. That was so at three concert performances of Verdi's "Giovanna d'Arco", after which Netrebko was celebrated alongside opera legend Plácido Domingo. And it will probably be like that even today, Sunday, with Britten's "War Requiem". In KURIER interview the diva speaks without airs on professional and personal happiness as well as new challenges.

KURIER: With the concert performance of Verdi's "Giovanna d'Arco" you celebrated an incredible success. Why was the opera not staged? 

Anna Netrebko: "Giovanna d'Arco" is musically magnificent, and the role very much suits my voice. But the story - well. A woman suddenly hears some kind of voices, goes to war and becomes a martyr, even a saint. That's total nonsense! You do not need to stage everything.

Your new CD is titled "Verdi". You are heard as Giovanna, as Elisabetta in "Don Carlo," as Lady Macbeth, as "Troubadour"--Leonora and as Elena in the "Sicilian Vespers". The foretaste of a change of Fach? [A singer's voice classification is called "Fach" in both German and English.] 

Above all, this album will be a tribute to one of the greatest composers of all time, suitable for Verdi's 200th Birthday. But it's true: My voice has changed radically lately. It has become darker, fuller, more dramatic - I encounter this in Verdi. I want to conquer this Fach. Now is the perfect time for it. Therefore, I will also make my debut as Lady Macbeth in Munich in 2014. But that is staged, because I can live her myself, I can identify with that role myself.

You can identify with the Lady Macbeth? 

But of course! This is a very strong woman who knows what she wants. That they go for their goals over dead bodies is not okay. But she suffers the consequences - even to madness. I like on the opera stage as in real life exciting characters. Just as Leonora in "Il Trovatore", that I will sing for the first time. Other Verdi roles do not interest me, even if I could sing them.

Which for example? 

A Desdemona like in "Otello" I definitely do not want to play. What kind of a stupid woman is she? If I have such a jealous macho man as Otello at my side, I separate myself from him immediately. And that's that. I live as Desdemona, and he should do what he wants. This of course does not alter the fact that both the Shakespearean drama and Boito's libretto and Verdi's music are fantastic. But that's not the type of woman that I want to represent on the stage. The same is true for the Lady Macbeth of Mtsensk by Shostakovich. I would never be stupid enough to go into the water for a man!

In 2016 you are scheduled as Elsa in a new production of Wagner's "Lohengrin" with conductor Christian Thielemann ... 

Oh yes, this is an adventure. This woman is asking for a bit much, but in spite of this I like her. No, seriously, I've already begun to concern myself with the "Lohengrin". Only it's not really easy. This Wagner-language one must first learn and then remember. Wagner doesn't make it easy for the singers. But Elsa comes at the right time. As well as Puccini's "Manon Lescaut". For that I have given up a couple of bel canto and a few Mozart roles. Even the Countess in "Le Nozze" I will not include in my repertoire when it doesn't work vocally. And I always listen to my voice. [Wonderful.]

In Salzburg you have a surprise for the audience with Benjamin Britten's "War Requiem"... 

Yes, a gorgeous, touching work. I am pleased to make it with Antonio Pappano, Orchestra of Santa Cecilia and colleagues like Thomas Hampson or Ian Bostridge. After all, in 2013 we celebrate not only Verdi and Wagner, but also Britten's 100th birthday. This is such an important performance. Also, I love Britten. This music is something serious and gets under your skin. In this Fach I would like to get a taste of a lot more, but I do professionally already so many crazy things.

What, for example?

Daniel Barenboim has talked me into a very wild project. I will release the "Four Last Songs" by Richard Strauss on CD. An incredible undertaking. I and Strauss! But Daniel said: "Anna, that is exactly right for you, you can do it," If Daniel wants something and he will propose a project to me, I can only agree. I trust him absolutely. But it is hard work. Since it is less about the language itself, rather than the idiom, the emphasis of individual words or syllables. I study Strauss intensively and hope that I can also meet him eventually.

Maybe one day even on the opera stage? 

Why not? But for that I must be quite sure that this is the right role in the right constellation and the absolute right time for me. The music industry has become so fast that you often barely keep up. I have to sign contracts for years in the future and don't even have a clue how my voice will sound, if it is still right for that role or any role.

A hard job... 

Yes, not only for me, for us all. How to give our best every day, because people simply expect this when they buy tickets. And they are quite right. On the other hand it holds great dangers. Vocally one should not be too quick to drive into any adventure. This can backfire. In addition to all this, you need a balance, a family, friends.

You are romantically involved with the famous bass-baritone Erwin Schrott, who with one son Tiago, your private life is constantly exposed to the public. Each of your steps is interpreted in one direction or another. How do you deal with it? 

This is unfortunately so. Work is just work, but private life is private life. I create my free time. I'm very happy with Tiago in Vienna in the Zoo. He loves this, we look at the animals for hours, and no one recognizes us. Because we are there just mother and son. This is for me a small, very big happiness. But with this also come responsibilities, like various kinds of housework. I learn a lot from Tiago. I enjoy that, because I am not Anna Netrebko, but a mother with everyday worries and troubles.

You have made Vienna the center of your life. 

The best decision! At the Vienna State Opera, where next season I again sing Marguerite in Gounod's "Faust", I'm home. Vienna is pure music. The daily interaction is incredible. And Vienna is a city where I can breathe, where I can just be me - Anna Netrebko.

Peter Jarolin

[Dr.B.  I find that I cannot help commenting on this interview.  If you don't care what I think, you should just not read it.  This is an artist who receives all the best advice and who views her career with great intelligence.  She reassures me about her plunge into the very dangerous role of Lady Macbeth by telling me that she always listens to her voice.  No more can be asked.  I also love that she calls her project to sing the Strauss "Four Last Songs" "crazy".  I would have thought so, too.  Surely I've already declared myself on this subject.  Strauss is a special style that only a few singers truly conquer.  But how could I possibly argue with Daniel Barenboim?  He will make sure it is what it needs to be.  I can think of nothing that would make me happier than to eat my words.  Anna is a very special lady.]

Sample of Verdi Requiem

Sample of the new Barenboim Verdi Requiem featuring Anja Harteros.

Auf Deutsch

Cecilia has announced the schedule for next year's Whitsun festival here.   There is mention of Cecilia Bartoli singing "Wir hab nun Trauerigkeit" from the Deutsches Requiem, her first appearance that I know of in German. She sang Ravel in Yiddish, but that doesn't count.  Pape will also sing and Barenboim conduct.

This goes with Norma.  Ach.  I think we should expect the recording to be out by then.

There will be a piece by Sofia Gubaidulina.  Gergiev will conduct more than one program.   Maybe I'll feel better by then.

Netrebko and Barenboim

There are things that only Anna can do. This is from the Berlin Philharmonic, and the songs are by Rimsky-Korsakov and Tchaikovsky. The subtitles are in French.  I don't think I know which pieces these are.

Programme

Anna Netrebko, Soprano

Daniel Barenboim, Piano

Philharmonie, Berlin

Monday 29. March 2010

1. PART

Nikolai Rimsky-Korsakow • Worüber in der Stille der Nacht op. 40 Nr. 3 | O chem v tishi nochey op. 40 Nr. 3 | What it is, in the still of night op. 40 Nr. 3

Nikolai Rimsky-Korsakow • Verzeih! Erinnere dich nicht an die kummervollen Tage op. 27 Nr. 4 | Prosti! Ne pomni dney naden’ya op. 27 Nr. 4 | Forgive me! Remember not the downcast days op. 27 Nr. 4

Nikolai Rimsky-Korsakow • Es ist nicht der Wind, der von der Höhe weht op. 43 Nr. 2 | Ne veter, veya s vïsotï op. 43 Nr. 2 | It was not the wind, blowing from the heights op. 43 Nr. 2

Nikolai Rimsky-Korsakow • Klingender ist das Lied der Lerche op. 43 Nr. 1 | Zvonche zhavoronka pen’ye op. 43 Nr. 1 | The lark sings louder op. 43 Nr. 1

Nikolai Rimsky-Korsakow • Auf Grusiniens Hügeln op. 3 Nr. 4 | Na kholmakh Gruzii op. 3 Nr. 4 | On the hills of Georgia op. 3 Nr. 4

Nikolai Rimsky-Korsakow • Im Reich der Rose und des Weins op. 8 Nr. 5 | V tsarstvo rozï i vina op. 8 Nr. 5 | In the kingdom of roses and wine op. 8 Nr. 5

Nikolai Rimsky-Korsakow • Suleikas Lied op. 26 Nr. 4 | Pesnya Zyuleyki op. 26 Nr. 4 | Zuleika’s song op. 26 Nr. 4

Nikolai Rimsky-Korsakow • Die Nachtigall wurde Sklavin der Rose op. 2 Nr. 2 | Plenivshis’ rozoy, solovey (Vostochnïy romans) op. 2 Nr. 2 | Enslaved by the rose, the nightingale op. 2 Nr. 2

Nikolai Rimsky-Korsakow • Der Wolken Luftgebirg löst sich im Winde sacht op. 42 Nr. 3 | Redeyet oblakov letuchaya gryada op. 42 Nr. 3 | The clouds begin to scatter op. 42 Nr. 3

Nikolai Rimsky-Korsakow • Die Nymphe op. 56 Nr. 1 | Nimfa op. 56 Nr. 1 | The nymph op. 56 Nr. 1

Nikolai Rimsky-Korsakow • Ein Sommernachtstraum op. 56 Nr. 2 | Son v letnyuyu noch’ op. 56 Nr. 2 | Summer night’s dream op. 56 Nr. 2

2. PART

Piotr Ilyich Tchaikovsky • Sag mir, wovon im dunklen Grün op. 57 Nr. 1 | Skazhi, o chom v teni vetvey op. 57 Nr. 1 | Say, when under shady boughs op. 57 Nr. 1

Piotr Ilyich Tchaikovsky • So schnell vergessen (1870) | Zabït tak skoro (1870) | So soon forgotten (1870)

Piotr Ilyich Tchaikovsky • Trunkene Nächte op. 60 Nr. 6 | Nochy bezumnïye op. 60 Nr. 6 | Reckless nights op. 60 Nr. 6

Piotr Ilyich Tchaikovsky • Warum? op. 6 Nr. 5 | Otchevo? op. 6 Nr. 5 | Why? op. 6 Nr. 5

Piotr Ilyich Tchaikovsky • Serenade, O Kind, ich singe dir op. 63 Nr. 6 | Serenada op. 63 Nr. 6 | Serenade op. 63 Nr. 6

Piotr Ilyich Tchaikovsky • Wiegenlied op. 16 Nr. 1 | Kolïbel’naya pesnya op. 16 Nr. 1 | Lullaby op. 16 Nr. 1

Piotr Ilyich Tchaikovsky • War ich nicht ein Gräslein im Felde op. 47 Nr. 7 | Ya li v pole da ne travushka bïla op. 47 Nr. 7 | Was I not a little blade of grass? op. 47 Nr. 7

Piotr Ilyich Tchaikovsky • In trüben Tagen op. 73 Nr. 5 | Sred mrachnïkh dnei op. 73 Nr. 5 | Mid sombre days op. 73 Nr. 5

Piotr Ilyich Tchaikovsky • Herrschet der Tag op. 47 Nr. 6 | Den li tsarit? op. 47 Nr. 6 | Does the day reign op. 47 Nr. 6

ENCORES

Antonín Dvořák • Zigeunermelodien op. 55 Nr. 4 (Als die alte Mutter mich noch lehrte singen) | Ciganske melodie op. 55 Nr. 4 (Kdyz mne stará matka zpívat, zpívat ucívala) | Gypsy Songs op. 55 Nr. 4 (When my old mother taught me to sing)

Richard Strauss • Cäcilie op. 27 Nr. 2

In the Still of Night

In the Still of Night, in case you have been on the moon, is an album of Russian songs by Rimsky-Korsakov and Tchaikovsky with Anna Netrebko and Daniel Barenboim. It is from a live performance at last year's Salzburg Festival.

Anna's Russian work cannot be excelled. It is a voice from heaven. If you listen carefully you can hear Pushkin and Dostoevsky whispering in your ear. Perhaps you will long to read The Brothers Karamazov.
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In the Still of Night

In the Still of Night is a new recording from Anna Netrebko to be released in March. Here is a website devoted to the album. It can be pre-ordered now from Amazon.

This article about the release makes the incredible statement, "This was, incredibly, the first recital of her professional career...." This is absurd. I have personally been to an Anna Netrebko recital in San Francisco where the accompanist was Donald Runnicles. Her Russian work is fabulous. I can't wait to hear it. Bits are on the website.

News

From Alex Ross we know that Hildegard Behrens has died. I think my only live encounter with Frau Behrens was from a front row seat in Davies Symphony Hall when she sang Leonora in a concert version of Fidelio. Ben Heppner was the Florestan and Herbert Blomstedt conducted. Blomstedt's Beethoven was excellent. The entire performance was very moving.

Riccardo Muti will assume leadership of the Rome Opera at the end of 2010. Just what I needed--a new reason to go to Rome.

Anna Netrebko has performed an all Russian recital with Daniel Barenboim in Salzburg to a standing ovation. Europeans don't stand up for everyone the way we do. Anna's Russian work is unexcelled. However, when you call something "The Russian Album" it sort of sounds like you've covered the subject. A Russian recital recording would be wonderful. Maybe they'll do this one so the rest of us can hear it.

In other news Classic FM magazine asks us to believe that of the 100 Best Artists you might want to hear, 5 of them are countertenors. How likely is that?

Peter Mussbach

Here I discussed my favorite production from my time at the Ulmer Theater--the one with caskets and dead people, sort of the haunted house Nozze di Figaro. Well, that was Peter Mussbach, now something of a person in German opera. Above is a picture of him with one of the ghosts from the Figaro production. My Swiss friend who sang Susanna in this production told me he had given up medicine for a career in opera.

He has gotten into conflict with Daniel Barenboim and gotten himself kicked out of the Berlin Opera.


These are the walking dead arisen from their caskets--one of the caskets can be seen in the background--surrounded by members of the audience. I was allowed to go watch them and take pictures as long as I was not in costume.

Question: Did he actually invent Eurotrash?

Paraphrasing Waltraud Meier

I watched on ARTS a short selection from an interview of Waltraud Meier talking about her career as the perpetual Kundry at Bayreuth. She spoke of working the role with James Levine, Riccardo Muti and Daniel Barenboim. "These are three different worlds." Then she asks "what is music?" It is nothing definite. It is life. It is something that changes as life changes. It is personal, individual expression.

That's as close as I can get.

It is vitally important to note that she got this gig by simply calling them up herself and auditioning. She had just finished doing Kundry at another house where she worked with Jean-Pierre Ponnelle, the director and designer.