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Carmen Forever By Octavio Roca October 19, 2004 Bizet's legendary heroine still inspires artists and opera lovers. The woman is fascinating, no question about it. Little by little, we are still getting to know Carmen. The fascination is strong, and...
US countertenor who is a wow in Europe By Francis Carlin Published: October 28 2004 03:00 | Last updated: October 28 2004 03:00 It is always a good sign when you find a singer attending a performance of something else...
MEMORIES OF ROBERT MERRILL: AMERICAN OPERATIC ICON by James Engdahl, Engdahl Artists International Robert Merrill, born Moishe Miller in the Williamsburg section of Brooklyn, passed away last Saturday, October 22, 2004, as he watched the first game of the World...
Wexford's dilemma for future operas By Andrew Clark Published: October 27 2004 03:00 | Last updated: October 27 2004 03:00 When Wexford's opera festival was young and innocent, audiences used to talk of "one for the head, one for the...
Scientists dig up family skeletons Luke Harding in Berlin Wednesday October 27, 2004 The Guardian It has been a mystery for more than a century - is a skull in an Austrian basement really that of arguably the greatest composer...
Not so hippy now Since the 1960s, René Jacobs has been a pioneer of the early music movement. Stephen Everson hears how his vision has evolved Friday October 22, 2004 The Guardian Anyone who still thinks "authentic" performances of baroque...
*New Repertoire Discoveries for Singers: An Interview with Michael Kaye* by Maria Nockin Did you ever wonder why that last Tales of Hoffmann you sang had all those photocopied sheets added in? Or why the version of "Butterfly" you learned...
Top composer Tavener turns to Islam for inspiration The Orthodox faith inspired him for more than 25 years, but after a rift with his spiritual adviser, the composer has rejected its 'tyranny' in a major work based on the Koran....
El sexo en la ópera no es sólo vulgar: ya nos aburre Fuera de la escena, la mezzo sueca es áspera y poco acogedora. Sus escasas sonrisas son un premio y sus respuestas son rápidas y precisas. Una evidente robustez...
Mistakes? I've made a few... (Filed: 04/10/2004) Pierre Boulez, the greatest and most uncompromising composer-conductor of our time, is mellowing as he approaches 80. He talks to Ivan Hewett However hard one normally prepares for interviews, there's always the feeling...
*Deborah Voigt withdraws from Vancouver Opera's production of Der Rosenkavalier* Vancouver, BC ~ American soprano Deborah Voigt, who was to make her role début as the Marschallin in the company's première production of Richard Strauss's Der Rosenkavalier, has withdrawn from...
Many a tear was shed when soprano Licia Albanese sang. Now she is celebrating her signature work, 'Madama Butterfly.' Allan Ulrich, Special to The Chronicle Monday, October 4, 2004 Was she or wasn't she? Licia Albanese is adamant. "Diva? Hah!...
Deux reprises, des tournées, un DVD, le prix de la critique : La Belle Hélène par le tandem Minkowski/Pelly fut l’un des plus grands et des plus durables succès du Châtelet. De quoi donner envie de reconduire l’équipe gagnante dans un autre Offenbach : ce sera La Grande Duchesse de Gérolstein. Mais à une condition : que la vedette en soit à nouveau Dame Felicity Lott, la plus française des chanteuses britanniques, dont la classe et le naturel s’imposent de l’opérette viennoise à l’opéra-bouffe français, en passant par la nostalgie du Chevalier à la rose ou le désespoir de La Voix humaine. Nous avons rencontré cette femme délicieuse début septembre, juste avant que le spectacle n’inaugure la nouvelle salle de Grenoble, «rodage» précédant les représentations parisiennes.
L'opéra au cinéma, entre chic et surprise LE MONDE | 30.09.04 | 14em5 La mise en scène d'opéra est, pour des cinéastes comme Benoît Jacquot, Atom Egoyan, Robert Altman... l'occasion d'expériences exceptionnelles. "Il y a dans l'opéra un truc qui...
By Jan Neckers The line of Decca-tenors seems to run straight from Del Monaco to Bergonzi to Pavarotti. Granted there are some intrusions by Giuseppe Campora, Giuseppe Di Stefano and Franco Corelli but their names are not widely associated with...
This is not a biography of the Jewish tenor. Just some personal thoughts on a few interesting aspects. Those interested in a biographical article and an outstanding discography better purchase the June 2000 issue of The Record Collector where your servant and Hansfried Sieben devoted more than sixty small print pages to the tenor. Those able to read German can still buy Alfred Fasbind’s biography published at the Schweizer Verlagshaus in Zürich 1992. It is still available in some German bookshops and maybe with the author himself (Rosenbergstrasse 16, 8630 Rüti, Switzerland).
Goldberg No. 27 By Brian Robins During the eighteenth century Naples was one of the largest and most vibrant cities in Europe. Hot, dirty and overcrowded, it was a city of teeming life and colour that flowed from court and...
Soprano still sings, and talks about it By David Patrick Stearns Inquirer Music Critic The majestic voice of Metropolitan Opera radio announcer Milton Cross became painfully flummoxed at the name Kiri Te Kanawa. It was the soprano's 1974 debut at...
William Bolcom: The `Wedding' planner By John von Rhein Tribune music critic September 12, 2004 Elden is William Bolcom's middle name, but it might just as well be Eclectic. He's perhaps the most versatile "serious" composer now at work in...
In 1966 Jørn Utzon was forced to quit as architect of the Sydney Opera House before it was complete. Next week, the first new interiors he and his son have designed will be revealed. Louis Jebb reports 07 September 2004...
In the October 2004 issue of BBC Music magazine, Amanda Holloway writes: The phrase most often used of Anna Netrebko is a 'package': stunning looks, acting ability and a gorgeous, effortless lyric soprano voice. The following is a profile...
In the October 2004 issue of BBC Music magazine, Amanda Holloway writes:
The phrase most often used of Anna Netrebko is a 'package': stunning looks, acting ability and a gorgeous, effortless lyric soprano voice.
The following is a profile of Netrebko courtesy of the Mariinsky.
Born in Krasnodar. Graduated from the Rimsky-Korsakov Conservatoire, St Petersburg, in 1995 and trained with San Francisco Opera. Joined the Mariinsky Theatre in 1994. Took part in a concert dedicated to the opening of the Irina Arkhipova Foundation at the Bolshoi Theatre in Moscow (1993).
Awards include first prize at the Glinka Vocal Competition (Moscow, 1993), prize winner of the International Rimsky-Korsakov Vocal Competition (St Petersburg, 1996), laureate of the BALTIKA prize for Young Opera Singers (St Petersburg, 1997) and laureate of the St Petersburg Golden Sophit theatre prize (1999).
Repertoire includes:
Susanna (Le nozze di Figaro), Donna Anna (Don Giovanni), Lyudmila (Ruslan and Lyudmila), Ksenia (Boris Godunov), Rosina (Il barbiere di Siviglia), Pamina (Die Zauberflote), Luisa (Betrothal in a Monastery), Klingsor's Flower Maid (Parsifal), Natasha Rostova (War and Peace), Lucia (Lucia di Lammermoor), Antonia (Les Contes d'Hoffmann), Musetta (La boheme), Ilia (Idomeneo), Adina (L'elisir d'amore), Zerlina (Don Giovanni), Teresa (Benvenuto Cellini), Giulietta (I Capuleti e i Montecchi), Violetta (La traviata).
Recordings include Ruslan and Lyudmila (audio-video recording with Philips Classics and RM Arts), Betrothal in a Monastery (audio-video project with Philips Classics, NHK Tokyo and Euroarts).
Her BBC debut in 1996 with Valery Gergiev and the Rotterdam Philharmonic Orchestra was also broadcast on television. Has toured with the Mariinsky Theatre thoughout Europe, Israel, the USA, Japan and Great Britain.
In the summer of 1998, she made her debut at the Salzburg Summer Festival, singing in concert performances of Parsifal with the Vienna Philharmonic under the baton of Maestro Gergiev. Anna Netrebko performs at the world's major opera houses. Since her debut at the San Francisco Opera House in 1995, Anna Netrebko has become a frequent guest artist there. In the 1999-2000 season she took part in performances of Le nozze di Figaro, Betrothal in a Monastery, Idomeneo and La boheme. In the 1999-2000 season, she made her debut with Washington Opera as Gilda (Rigoletto).
Took part in a concert performance of Benvenuto Cellini with the Rotterdam Philharmonic Orchestra under the baton of Maestro Gergiev at the Concertgebouw (Amsterdam) and the Royal Festival Hall (London). Has participated in the Maggio Musicale Fiorentino (2000), where she performed works by Bach and Hendel.
In the 2000-2001 season at the San Francisco Opera and Washington Opera she sang Musetta (La boheme), Ilia (Idomeneo), Adina (L'elisir d'amore), Nanetta (Falstaff), Marfa (The Tsar's Bride) and Zerlina (Don Giovanni). The same year, Anna Netrebko made her debut at the Metropolitan Opera (Natasha Rostova in a Mariinsky Theatre production of War and Peace) and Philadelphia Opera (Giulietta in I Capuleti e i Montecchi).
Recommended Recordings:
