It has been five years since Anna Netrebko recorded a solo album for her record company Deutsche Grammophon. This year she celebrates her 10th anniversary with the company with a CD dedicated to Giuseppe Verdi's 200th anniversary entitled "Verdi." The album is a selection of arias that were personal favorites of the soprano and a preview of works she will add to her repertoire in the coming seasons.
Since her record "Souvenirs" Netrebko's voice has obtained a larger, heavier and darker sound. The soprano who once sang the coloratura and lyric roles proves on her latest collection that she is ready for more dramatic roles.
The soprano opens the CD with Lady Macbeth's three daunting arias. Many have wondered if the Russian superstar is truly ready for this extremely heavy and taxing work sung at times by Mezzos. However, this CD shows that Netrebko is at ease with all three arias.
"Nel di della vittoria" opens with the letter reading in which Lady Macbeth discovers her husband has become Thane of Cawdor. Netrebko opens with an imposing spoken tone that quickly turns into a hushed whisper that hints at Lady Macbeth's attempt to hide the excitement she feels from the content in the letter. Her first vocal lines - "Ambiziso spirito" - are then sung with vigor, but also an aggressive and piercing character demonstrating Lady Macbeth's wicked character and power. During the aria "Vieni t'Affreta" and subsequent cabaletta "Or tutti Sorgette" she continues to sing with the same energy and fire.
"La Luce Langue" follows on the CD and is truly one of the highlights of the album. The aria has been described as the mezzo aria of the opera and here Netrebko demonstrates how well she has developed her lower and middle range. She begins her aria with a mezzo forte and a very cautious sound. However, when she arrives at the text "nuovo delitto," the soprano speaks the lines as if Lady Macbeth is questioning her actions. This is a Lady Macbeth who does not necessarily know if she really wants to commit another crime.
However, when she arrives at the text "e necessario" she sings with authoritative color, almost as if she is convincing herself it is necessary to murder another innocent soul. The aria then arrives at the cabaletta section bringing back the Lady Macbeth from the first aria. This time though, there is a very sexual and seductive aspect to Netrebko's voice as she sings the lines "o volutta del soglio" and "Cadra."
The sleepwalking scene in which Lady Macbeth tries to wash off her guilt is also effective. Netrebko starts her opening lines "Una Macchia e qui Tuttora" a bit flat but it creates a powerful effect of a dazed and sleepwalking person. During the aria Netrebko sings each line in a very disconnected form allowing the listener to envision a tormented woman. The final D flat is a bit unsteady, but since Lady Macbeth is distraught at this point in the opera it creates an unsettling effect.
"O Fatidica foresta" from Verdi's little known work "Giovanna d'Arco" provides a refreshing repose. The piece describes Giovanna's desire to return to the happy and simple life she once had. The aria is short and simple and has a very light orchestration allowing Netrebko to show her bel canto line. Each phrase is delicately sung and showcases the soprano's elegant phrasing.
The arias from "I Vespri Siciliani" are also effectively executed. Her "Arrigo! Ah Parli a un core" is impeccably sung with commitment. The words "Io t'amo" and "io muio" are heartfelt and each line shows Elena's despair at losing her lover Arrigo. However, the vibrato is a bit wide in the upper register, creating a slight wobble effect that has always been rare in the soprano's voice. The "Merce dilette amiche" shows off Netrebko's much improved thrill that critics had complained about during a run of Gounod's "Romeo et Juliette" at the Metropolitan Opera. The aria is sung with a heavier voice than most would expect and while some of the coloratura is smudged, the ornaments are well-placed throughout.
The highlight of the album arrives with the aria from Don Carlo "Tu che La Vanita." Netrebko has said that she is not planning on taking on the role anytime soon because it is too big and dramatic for her voice, however, the recording says something else. The aria is supposed to be restrained, which Netrebko executes through the A section of the piece, while still hinting at Elisabetta's torment.
The words "il pianto mio" are sung with pain and remorse almost as if she were quietly weeping. The B section, which is a bit more free and recitative, brings out of the desolation as well the nostalgia Elisabetta is enduring. The pianos that Netrebko produces in her voice create a pure quality that quickly turns to desperation. Netrebko concludes the aria with a more potent portrayal of the A section. The strength of the vocal line eventually turns to the yearning quality that finally provides a release for the initially restrained emotions of the first encounter with the section. It is simply a complete performance that one expects when seeing the aria in a full staged production.
The album concludes with the opening scene from act four of "Il Trovatore." The aria "D'amor sull'ali rosee" also gives the soprano the ability to show her breath control and her ability to easily shape Verdi's long lines. The aria is sung with an ethereal quality and her ascending lines are beautifully connected. The "Miserere" is a treat to hear as it includes Rolando Villazon, a frequent colleague with which Netrebko performed early on in their respective careers. The track features Villazon as Manrico and is potentially the only time audiences will ever get to hear him sing from the opera. Netrebko sings with such fear and anxiety and Villazon compliments her well as he brings the tragic quality to the character with his expressive voice. The two voices still match each other well and blend beautifully at the end of the aria.
Gianndrea Noseada and the orchestra del Teatro Regio di Torino add a forward propulsion necessary for Verdi even if some of the tempos are slow. He never intrudes on the vocalist but always makes sure the orchestra is present in key moments.
Overall, this new album is a fine addition to the soprano's discography. It is also shows fine promise in this repertoire and gives Netrebko fans something to look forward to.
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