Tue. Jan 28th, 2020

Netrebko show

Anna Netrebko, Yusif Eyvazov

Place and date: Gran Teatre del Liceu (4 / XI / 2019)

Russian Glamor of Diva Netrebko on an evening full of dedicated and faithful public for a predictable and announced success. How to explain an end of recital with standing ovations, but that it was also a night without magic? Publicized as one of the star concerts of the 20th anniversary of the Liceu, the admired Russian soprano Anna Netrebko, current world number one diva by agenda, media and charisma.

It was his second visit to the Liceu, years after his memorable debut here with the opera Iolanta Chaikovski, in 2013. The brilliant diva, who changed up to three times of costumes, was accompanied by her current husband, Azerbaijani tenor Yusif Eyvazov, in addition to the British baritone Chritopher Maltman. He directed, with correction but without boasting to the Symphony of the Liceu, the semi-unknown Russian director Denis Vlasenko a program Tutto Verdi for the first part and a second with hits of verismo where Netrebko and Maltman stood out by means, power and solidity.

The soprano is in a degree of vocal maturity that easily leads her to a more dramatic repertoire, where the voice does not disappoint. Dark, carnal and lustrous color, with pearly timbre that explodes with pleasure in dream pianos, as he showed with a Oh my dear babbino as few have been heard in recent years in Barcelona, ​​despite lengthening a note exaggeratedly to demonstrate its virtuosity creating almost an antimusical effect. Netrebko was plethoric with the Aryan of Elisabetta of D
on Carlo de Verdi, a majestic aria where he combined power, technique and vocal control, but still lacked expressive and emotional depth.

The feeling of recital of bolus With autopilot it subtracted naturalness and freshness. And that surprised Maltman's full baritonal voice with a Macbeth of book and especially a Nemico della patri to which he obtained one of the most unanimous ovations of the night. Eyvazov showed a correct instrument, of worked technique but artificial sound and with changes of color in the acute registry; He showed style and phrasing intentions, but the voice has a metallic timbre that affects his singing. The best, your final duo of Andrea Chénier with Anna, for emotional involvement and empathy.

The Liceu has had great nights in these twenty years of history, with house divas, Marton, Gruberova, Dessay or Radvanovsky, who have left unforgettable evening trails. Netrebko left signs of greatness in a Ebben? from La wally full of colors and dramatic lyricism, but it was a timely display. The tacky and only final bis, a vulgar O sole mine three voices, marked the character of everything. The magic will be another time.

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