Anna Netrebko / Orchestra dell'Accademia Nazionale di Santa Cecilia / Antonio Pappano VERISMO

. . . ["Verismo"] reveals she is more than just a star; her performances of arias and scenes from Italian opera highlight an artistry that is both subtle and thrilling . . . Netrebko's rich lyric soprano is a natural match for the lush vocals demanded by these operas, not least because her voice is at its most powerful and complex in the transitional "passaggio" points at the top and bottom of the treble staff . . . [she] flaunts a fascinating low register in the very first cut on the album, "Io son l'umile ancella" . . . The hallmark of this collection is Netrebko's taking offbeat approaches to pieces opera fans have heard a hundred times before . . . Netrebko's originality of approach can color an entire aria . . . among the most striking performances on this disc are arias from operas associated with full dramatic sopranos. In "Suicidio!" from "La Gioconda", Netrebko evokes a mood of doom with lurching high phrases and plunges into her eerie lower range . . . in the showpiece from "Turandot" "In questa reggia," Netrebko works the many phrases pounding at the higher passaggio like an expert warrior wielding a sword. It's hard to imagine this killer aria sung more beautifully . . . [Eyvazov's] bright, almost metallic tenor provides as well an effective foil in the highlight of this disc, the final act of Puccini's "Manon Lescaut" . . . [Manon]: her onstage experience is immediately apparent in the wealth of detail she brings to this 20-minute scene. Pain, desperation, terror, fatigue -- even momentary bliss when Manon nestles in the arms of her lover -- these conflicting emotions shimmer through Netrebko's voice so seamlessly that at moments it's easy to forget that you're just listening to a recording of an opera. On this CD, Anna Netrebko makes verismo seem realer than life itself. (James Jorden / New York Observer)

Anna Netrebko DIVA

It is rare for an artist to break through the boundaries of classical music stardom and achieve recognition in the wider world, but Anna Netrebko has achieved that and more. In a recording career spanning less than fifteen years so far, she has not only seduced the classical scene with the beauty of her voice, her superb vocal control and supreme musicality, she has also become an international icon. More than an operatic diva, Anna Netrebko is an enormously charismatic individual whose style and stage presence are as celebrated as her musicianship. A passionate advocate for children’s causes, she supports a number of charitable organisations, including SOS-Kinderdorf International and the Russian Children’s Welfare Society. She is a global ambassador for Chopard jewellery.

Born in 1971 in Krasnodar, Russia, Netrebko studied vocal performance at the St Petersburg Conservatory. When she auditioned for the Mariinsky Theatre, she was spotted by Valery Gergiev, who became her vocal mentor. She made her operatic stage debut at the Mariinsky, aged 22, singing Susanna in Le nozze di Figaro. One year later she made her US debut at the San Francisco Opera. She really started pulses racing in the international opera world with a triumphant Salzburg Festival debut in 2002 as Donna Anna in Mozart’s Don Giovanni. Since then she has gone on to perform with nearly all the world’s great opera companies, displaying consummate skill and naturalness as she inhabits each new role, including Mozart’s Susanna (Le nozze di Figaro), Puccini’s Mimì (La bohème) and Manon Lescaut; Verdi’s Violetta (La traviata), Gilda, Leonora, Lady Macbeth and Giovanna d’Arco; Bellini’s Giulietta (I Capuleti e i Montecchi), Elvira (I puritani) and Amina (La sonnambula); Donizetti’s Norina (Don Pasquale), Adina (L’elisir d’amore), Lucia di Lammermoor and Anna Bolena; Massenet’s Manon; Gounod’s Juliette; Tchaikovsky’s Tatiana (Eugene Onegin) and Iolanta; Wagner’s Elsa (Lohengrin); and, most recently, Cilea’s Adriana Lecouvreur.

Her debut at New York’s Metropolitan Opera also came in 2002, and she has returned every season since, becoming the only soprano to have opened the season in three consecutive years (2011–13), as well as captivating audiences worldwide thanks to the Met’s “Live in HD” cinecasts. Anna Netrebko appears every season at the Vienna State Opera – she has lived in Vienna for many years and obtained Austrian citizenship in 2006. Having made her La Scala debut in 2011 as Donna Anna, she returned to Milan in 2012, giving performances as Mimì that won praise from critics and audiences alike. She made her role debut as Verdi’s Lady Macbeth at the Bavarian State Opera in 2014 and was invited back to La Scala to open the 2015-16 season in a production of the same composer’s Giovanna d’Arco, the work’s first performance there for over 150 years and Netrebko’s first stage appearance in its title role.

Anna Netrebko / Yusif Eyvazov ROMANZA

Romantic roles have long been part of Anna Netrebko’s professional life, but the idea of romance must have acquired a new resonance for her since she met Azerbaijani tenor Yusif Eyvazov. In her two latest Deutsche Grammophon releases, she shines as she joins forces with her husband to perform a collection of contemporary love songs written especially for them by the renowned Russian songwriter Igor Krutoy, and is equally radiant as Elsa of Brabant in Wagner’s most Romantic opera Lohengrin. Romance and Romanticism – two glittering facets of the soprano’s life and career.  

Fanfare trumpets, rousing choruses and a plot steeped in Grail legend helped propel Lohengrin to the status of Wagner’s most popular opera. For all its enduring appeal, the work is among the composer’s least understood. Christian Thielemann and a dream cast, headed by Piotr Beczała as Lohengrin and Anna Netrebko as Elsa, both new to the roles and to Wagner, gathered at Dresden’s Semperoper in May 2016 to probe the opera’s psychological depths and bring fresh light to its dark tragedy. Lohengrin emerged here as a work of revolutionary freshness. It did so by paying full attention to the score’s rich details, exchanging the usual Wagnerian default setting of loud and louder still for a bel canto interpretation shot through with spine-tingling dynamic contrasts and expressive subtlety.

This was a Lohengrin of our time and for all times, hailed by critics as a landmark event. Opera News concluded that it was “a ridiculously good performance”, a view supported by a stream of five-star reviews and rapturous news headlines. UNITEL, which celebrated its 50^th anniversary last year, was there to document Wagner history in the making. The company’s film catalogue includes Patrice Chéreau’s ground-breaking “Jahrhundertring” (“Centenary Ring”) from the 1976 Bayreuth Festival and the recent Ring cycle staged by La Fura dels Baus in Valencia. The DVD of Thielemann’s Lohengrin, set for international release by Deutsche Grammophon on 7 July 2017, marks the yellow label’s first adventure in Ultra HD video. Its high-definition images and sound capture the intense drama and emotional power generated by one of those rare Wagner ensembles in which all the participants – from Beczała and Netrebko to the Sächsischer Staatsopernchor and Staatskapelle Dresden – combined to produce the perfect instrument. The central characters were richly supported by the implacable, unstoppable Ortrud of Evelyn Herlitzius, Tomasz Konieczny’s resounding Telramund and the utterly majestic King Heinrich of Georg Zeppenfeld.

Conductor Christian Thielemann’s choice of lead singers ideally suited a work that owes much to the influence of bel canto opera. Wagner, he explains, knew the music of Bellini and Donizetti and heard the great Italian singers in Paris in the early 1840s. “Wagner’s orchestration in Lohengrin supports the voice,” he adds. “The orchestra is not there to compete with the singers – or at least it shouldn’t be.”

“Wagner is one of my favourite composers,” observes Anna Netrebko. “But I never thought I’d ever sing anything by him. Elsa is the one and only Wagner role for me. Maestro Thielemann helped me learn the style and I also gained so many insights from my wonderful colleagues involved in this production. I must admit that it was very hard for me to learn the text. I can memorise any English text; I can learn anything in French or Italian, but German is really difficult for me. Elsa’s ‘Einsam in trüben Tagen’ was okay, until … silenzio … I couldn’t remember how it ends! Christian Thielemann helped me connect with the words. He said he wanted to hear ‘Tttexssssttt! Vowels! Consonants!’ That was the key for me. It opened the door to Elsa’s all-too-human psychology.”

Like Netrebko, Piotr Beczała is in high demand at the world’s most prestigious opera companies and as soloist with the finest international orchestras. The Polish tenor, described by Opera magazine as “one of the most truly exciting male voices of the present day”, made his name with eloquent interpretations of roles such as the Duke in Rigoletto, Rodolfo in La bohème and Des Grieux in Manon, parts that call for sustained lyricism and the vocal weight required to project dramatic climaxes. Christian Thielemann convinced him that he was ready for the Wagner challenge. “Lohengrin is no more dramatic than my other roles,” says Beczała. “But it does involve aspects of the voice that I would not normally use in the French, Italian or Slavic repertoire.”

Thielemann delivers unconditional praise for Lohengrin’s stars. “The quality of Anna Netrebko’s artistry, the light and shade of her voice, its endless range of colours, are ideal for this role,” he says. He was equally delighted by Beczała’s Lohengrin. “His performance combines brightness with warmth, heroism with tenderness, compelling musicianship with searing emotional honesty. With such a fine cast working so hard and with such eloquence, I feel this was a special Lohengrin. I am delighted that, thanks to Deutsche Grammophon, audiences worldwide can now share that experience.”

Romanza, meanwhile, is not only Anna Netrebko’s first album of duets with husband Yusif Eyvazov, but also her debut crossover release. Perhaps the most famous and vocally prodigious couple in the opera world, Netrebko and Eyvazov met in early 2014 during rehearsals for Manon Lescaut at the Rome Opera, became engaged shortly afterwards, and married in Vienna in December 2015 amid a whirl of publicity. Now Romanza will appear on Deutsche Grammophon’s crossover label PANORAMA, celebrating their intense emotional connection and the radiant power of love.

With their lush instrumentation, rich palette of harmonic colour and unforgettable melodies, Igor Krutoy’s songs celebrate the many aspects of a love affair between two people. They take in every emotional nuance, from tender devotion to pulsating passion and tormented yearning, all brought vividly and thrillingly to life by the heartfelt performances of Netrebko and Eyvazov. (Deutsche Grammophon)

Anna Netrebko / Konzertvereinigung Wiener Staatsopernchor / Münchner Rundfunkorchester / Marco Armiliato PUCCINI Manon Lescaut

It is rare for an artist to break through the boundaries of classical music stardom and achieve recognition in the wider world, but Anna Netrebko has achieved that and more. In a recording career stretching a mere dozen years she has not only seduced the classical scene with the beauty of her voice, her superb vocal control and supreme musicality, she has also become an interna­tional icon. More than an operatic diva, Anna Netrebko is an enormously charismatic individual whose vivacious style and dazzling stage presence are as celebrated as her musical artistry.

Her future plans include her latest return to the Met, this time as Manon Lescaut (November / December 2016), and appearances as Lady Macbeth at the Bayerische Staatsoper in Munich (December 2016). Before that, she will give three concert performances of Manon Lescaut at this summer’s Salzburg Festival, starring opposite her husband, tenor Yusif Eyvazov, with whom she will also give concerts in Hamburg and Cologne as a prelude to the 2 September launch of Verismo, her latest album for Deutsche Grammophon. 

A passionate advocate for children’s causes, Netrebko supports a number of charitable organisations, including SOS-Kinderdorf International and the Russian Children’s Welfare Society. She is a global ambassador for Chopard jewellery. Her many and varied interests all contribute to her artistry and provide insight into her ability to immerse herself so deeply in a role, whether tragic or comic. It is easy to see why Gramophone enthused as follows: “When I hear Anna Netrebko sing, live, I don’t want her to stop … Remember the days of rapturous standing ovations, when the sound of a singer’s voice would really drive people wild? That’s the kind of voice Netrebko has … She is also a stage animal … she is fuelled by sheer talent and instinct … I’d take Netrebko over anyone out there, any time.” 8/2016