Anna's Traviata San Francisco 28th June 2009 - Review

On a very noisy and crowed day in San Francisco on the occasion of the "Gay
Pride Celebration" there was a gem of a La Traviata production taking place in
the War Memorial Opera House that was novel and breathtaking. During a
pre-concert lecture, it was stressed that in Verdi, the music is the
underpinning only to support the singer. Several selections from an old
production with Monserrat Cabale and Domingo were played to introduce the
audience to this early gem by Verdi. The lecturer pointed out how unique
Netrebko is in her ability to paint her voice to express the inner feelings and
mood of Violetta and how this changes throughout the opera. While the cast with
Dwayne Croft (Georgio Germont) was superb, Charles Castronova as Alfredo Germont
(improved as production progressed) and Donald Runnicles (last performance of
his tenure) was noble, the evening belonged to Ms. Netrebko. From the opening
moment of her arrival in a lavish 1920's style car, it was clear that she not
only ruled the stage, but loved every moment of this production. From the
opening scene dressed in a white sequined gown, followed by a black evening
dress at the gambling parlor to her final dying scene in negligee, she
epitomized elegance, grace, and astonishing beauty. Her voice has become fuller
with ample power in all octaves. She has incredible dynamic range from a
poignant whisper to full exclamatory willpower, with joy and angst. At times,
she had to hold back somewhat so as not to over sing Alfredo. The highlight of
the opera was her acting ability in being able to portray a dying courtesan who
does not want to leave her lover. Dying of consumption, she just became limp on
several occasions that were most believable. Her cough similar to La Boheme was
not only believable, but your heart skipped a beat with the rising tension. You
could hear a pin drop as you heard her dying moments collapsing on a couch to
the familiar high violin accompaniment. My only concerns that need to be
expressed were the amplification of the orchestra which was totally unnecessary,
but the incessant delivery of amplified violin section attributed to poor
microphone placement was obtrusive and annoying. At least on one occasion Mr.
Runnicles overpowered the singers in his zealous enthusiasm.

On one occasion Ms. Netrebko transposed a high note with little detraction.
She displayed ample power, coloratura bravura with a marvelous tone. Having
recently heard Natalie Dessay sing Sempre Libera at the Met Gala, one was
impressed by the legato nature of Netrebko's portray in contrast to Dessay's
intentional staccato, fragmented phrasing interpretation. Having also seen
photos of Rene Fleming in her current Violetta at the ROH, one can only marvel
at Netrebko's resilience, endurance and commitment to bel canto opera. She is
made for this type of role. From the moment of the curtain falling on the final
scene, you then witnessed the incredible transformation of Netrebko joyously
waving to the crowd with her signature smile and hand-waving to her kiss for the
conductor. Since this was San Francisco, a town near to her heart since had her
American debut in the War Memorial Opera house, it was a joyous reunion. There
were banners on street poles, tote bags declaring we love Anna to photos in the
cafeteria of her debut in Ruslan and Ludmila (Glinka).

Perhaps was the greatest surprise of the day was her autograph signing for
approximately 300 people. Anna came out with colorful beads used in New
Orleans in white Bermuda shorts and stiletto heels. Everyone was given the
opportunity to customize their autographs by filling out a note for Anna. She
sat there sipping Champagne with Balalaika music and a small Russian group
providing mood setting music for these accolades. My wife and I were
particularly struck, not only by her beauty, but graciousness in her
conversation. My wife Paula was so nervous she could not snap a photo and Anna
told her not to be nervous at all. Paula said that she hoped to see Villazón's
return (also acknowledged by Netrebko) and I told her how much I loved her
recording of I Capulets and Montecchi by Bellini. She agreed that this was the
most beautiful score. She was quite surprised to hear that we had traveled to
Abu Dhabi to hear her in concert with Elina Garanca and Erwin Schrott.
The mezzanine gift shop was mobbed in anticipation of the CD autograph signing following the performance. We met many wonderful people who enjoyed the performance and some can with nearly every CD and DVD for autographs. How Ms. Netrebko can sing her heart out, sign autographs, be a full time mother and travel the world defies understanding. She is clearly raising the bar as a model of modern day opera and has clearly expanded an ample
repertoire. Her career with many counterparts, e.g. Garanca, Villazon, Alagna,
Beczala, Castronova, Cutler and others seems to be a joyous tribute to a young
girl growing up in Krasnodar of modest means. This is truly the story of modern
day princess.

With warm regards,
Howard

Here are some photos:



For watching all the photos click here (Carlos' blog).

Many, many thanks to Howard for his very detailed and touching review and the great photos !



Here's the "Examiner's" latest review. Click here for reading the article (photos are posted, too)

"Russian soprano Anna Netrebko lights up opera stage in 'La Traviata'"

Review in the "Canadian press" about Anna's Traviata in San Francisco:

Russian soprano Anna Netrebko lights up opera stage in 'La Traviata'


SAN FRANCISCO — From the moment she rolls on stage in a 1929 Buick for the opening party scene of Verdi's "La Traviata," Anna Netrebko pretty much obliterates everything in her path.

Just try taking your eyes off the Russian soprano as she sings and acts her way through the role of Violetta, a 19th-century Parisian courtesan who falls in love, makes a noble sacrifice and eventually dies of tuberculosis.

Netrebko, at 37, is an opera star at the height of her considerable powers. And her appearance is unquestionably the highlight of the San Francisco Opera's annual "summer season," though the other productions - Puccini's "Tosca" and Gershwin's "Porgy and Bess" - have much to recommend them.

Heard at the third of her five performances Friday night, Netrebko showed she has kept her creamy voice, tinged with melancholy, in good repair. If anything, it sounds fuller than before she took a pregnancy sabbatical last year, yet she controls it so expertly that she has no trouble pulling off the coloratura flights of "Sempre libera" or floating soft high notes in her death scene. She has retained some of the weight she gained but still looks glamorous in costumes that range from a sleeveless evening gown to a negligee.

Netrebko is a San Francisco favorite, having made her U.S. debut here in 1995. But it had been five years since she last sang with the company, so it was a particular plum to have her perform Violetta for the first time in the U.S. (She is due to sing it at New York's Metropolitan Opera in the 2010-11 season.)

Though she has by now portrayed the role dozens of times in other houses, her performance feels spontaneous and free of mannerism. Small, telling touches abound - the way she spits out the word "Gioir!" (Joy!) as she desperately asserts her preference for the high life over a commitment to her young suitor, Alfredo; her nervous impatience when his father first lectures her about the shame she is bringing to his family; or the final image, standing atop her bed with arms outstretched, then crumpling lifeless in an instant.

If only her co-stars were worthier foils. As Alfredo, tenor Charles Castronovo sang pleasantly but neither his personality nor his sound had enough heft to make it plausible that he could be more than a passing fancy for this Violetta. Similarly, baritone Dwayne Croft's burnished baritone was pressed to the limits as Alfredo's father, Giorgio Germont. The effort seemed to narrow his emotional range, denying him the force of character that could believably inspire the heroine's renunciation.

Donald Runnicles, the company's music director and principal conductor who is being replaced after 17 years by Nicola Luisotti, conducted the excellent orchestra with evident affection both for the players and the score.

The production by Marta Domingo, on loan from the Los Angeles Opera, turns Violetta into a flapper of the Roaring '20s. That works well enough in the first act, but makes nonsense of the story thereafter. The idea that she would renounce her lover to protect the reputation of his family doesn't transfer well, nor does the likelihood she would die of tuberculosis.

And though the antique car is an eye-popping effect, other liberties are gratuitous, such as making Alfredo rush back in at the end of "Sempre libera" so the lovers can fall into each other's arms, or having the dying Violetta hallucinate about her wedding day.

Dubious updating, though to less distracting effect, is also on display in "Porgy," which director Francesca Zambello, in a production first seen at the Washington National Opera, has moved from the 1920s to the 1950s. The elaborate set for Catfish Row looks like an odd cross between a shantytown and a prison cell block, but the movable scenery allows the action to flow without interruption.

The breakout performance here is by bass-baritone Eric Owens, who as Porgy commands the stage with a warm, sympathetic voice and presence. Soprano Laquita Mitchell looks terrific as Bess, and sounds fine most of the time, but the high notes occasionally give her problems and her voice lacks the plushness ideal for the role. In supporting roles, soprano Angel Blue is a standout as Clara, with a shimmering "Summertime," and Karen Slack brings emotional fervor to "My Man's Gone Now." John DeMain, who led the historic Houston performances of the work in 1976 that restored "Porgy" as grand opera, conducted with authority gained from long association with the score.

"Tosca," one of the most tightly constructed melodramas in the operatic repertory, requires a soprano with great vocal and dramatic presence. Adrianne Pieczonka is very effective in the role, and her second-act confrontation with the evil Baron Scarpia, well sung and acted by baritone Lado Ataneli, is the chilling climax it should be. Tenor Carlo Ventre, as the painter Cavaradossi, is not quite on their level. He has a powerful voice, but it's blunt and unrefined, and he's prone to holding onto his high notes a bit too long - as if to show off his lung power.

Despite the anemic economy, the company seems to be attracting healthy audiences for this mini-season, which runs from June 2-July 5. All five of Netrebko's performances sold out (the final four will be shared by Elizabeth Futral and Ailyn Perez) as did all performances of "Porgy." "Tosca" drew a crowd of 27,000 to a free simulcast at the Giants' baseball stadium, which the company says is the most since opera-in-the-ballpark became a regular event.


It feels so, so good to read such articles. They are all showing again and again that Anna is really back, that she is even better then before and that nothing has changed ! She's still the same - simply our Anna <3

Anna Netrebko walks into a bar...

Anna Netrebko walks into a bar...

While sitting at the bar of a restaurant across from the opera house Friday night, I was surprised to see Anna Netrebko and Charles Castronovo casually stroll in after performing in La Traviata (I wasn't at the performance, but was coming from seeing Hiromi Uehara next door- she'll get her own post).

Since I thought the recently published photos of her for the Chron interview were pretty unflattering, I'm happy to report Netrebko still looks great from three feet away (I had another chance close-up sighting of her in Costa Mesa a couple of years ago when I found myself standing next to her and Rolando Villazon). She seemed fine to wait while the restaurant arranged for their party table upstairs. It appeared that many people in the restaurant didn't even recognize her, as the public left her alone and nary a fuss was raised over the opera world's most desired diva- or is it the locals are just too cool to fawn over her?

I resisted the urge to ask to have my picture taken with her, though I'll admit to the temptation. I was really hoping she'd pop down on the empty stool two to my left. So was the guy seated to my left. Alas, both of us were disappointed.


I love such reports about Anna ! They are showing that Anna is in real life really just a normal person and that she has nothing to do with a "diva" or something. She's so kind ! I love her !

Many things

Sorry that I didn't wrote anything since Saturday as I had already promised, but I'm ill and the last days I was only lying my bed...There happend a lot...where to begin ??? Hmm...well on Saturday had Anna her first performance of Traviata at the San Francisco Opera. There are some reviews and many, many photos but it would actually need to long to load them up all, cause there are also other things I want to write down...So happend happend, too ?? -> Rolando will not sing Don José in the millenium production of Carmen next year in Vienna with Elina as Carmen and Anna as Micaela ! Click here, here and here. Well of course it's shit for the ones who are having a ticket yet or are trying to get one, but I think it's a good decision he made. The pressure would be soooooooo high if he would sing in this production, the whole world of opera would look (and listen !) at (to) him. If Giordano is a good replace...hmm...we will see...
Maybe I will later also upload some photos of Prague (I really took a lot ^^) It was a great holiday even if we didn't sleep a lot ;)

Closing, Prague and Anna in San Francisco

I'm sorry for telling you but yes - the blog will be closed till Saturday once again. But now is the reason something much more better then exams ;) I travel with my class to Prague =) I will of course take a lot of pictures and report you on Sunday over the Smetana Hall, the Rudolfinum (where Anna recorded Souvenirs), the national museum, the Dvorák museum etc etc =)

Not to forget -> Latest news about Anna cause of her upcoming performances of La Traviata at the San Francisco opera, click here =)

Hope you will have a nice a week !

See you soon
Yours, Christina