Anna Netrebko: Verismo | Deutsche Grammophon 4795015

Anna Netrebko: Verismo

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Label: Deutsche Grammophon

Cat No: 4795015

Format: CD

Number of Discs: 1

Genre: Opera

Release Date: 2nd September 2016

Contents

Works

Boito, Arrigo

Mefistofele
» L'altra notte in fondo al mare

Catalani, Alfredo

La Wally
» Ebben? Ne andro lontana

Cilea, Francesco

Adriana Lecouvreur
» Ecco: respiro appena. Io son l'umile ancella

Giordano, Umberto

Andrea Chenier
» La mamma morta

Leoncavallo, Ruggiero

Pagliacci
» Qual fiamma avea nel guardo ...Stridono lassu

Ponchielli, Amilcare

La Gioconda
» Suicidio!

Puccini, Giacomo

Madama Butterfly
» Un bel di vedremo (Act 2)
Manon Lescaut
» Fra le tue braccia amore (Act 4)
» In quelle trine morbide (Act 2)
» Manon, senti, amor mio (Act 4)
» Sei tu che piangi? (Act 4)
» Sola, perduta, abbandonata (Act 4)
» Tutta su me ti posa (Act 4)
Tosca
» Vissi d'arte (Act 2)
Turandot
» In questa reggia (Act 2)
» Signore, ascolta (Act 1)

Artists

Anna Netrebko (soprano)
Yusif Eyvazov (tenor)
Orchestra dell’Accademia Nazionale di Santa Cecilia

Conductor

Antonio Pappano

Works

Boito, Arrigo

Mefistofele
» L'altra notte in fondo al mare

Catalani, Alfredo

La Wally
» Ebben? Ne andro lontana

Cilea, Francesco

Adriana Lecouvreur
» Ecco: respiro appena. Io son l'umile ancella

Giordano, Umberto

Andrea Chenier
» La mamma morta

Leoncavallo, Ruggiero

Pagliacci
» Qual fiamma avea nel guardo ...Stridono lassu

Ponchielli, Amilcare

La Gioconda
» Suicidio!

Puccini, Giacomo

Madama Butterfly
» Un bel di vedremo (Act 2)
Manon Lescaut
» Fra le tue braccia amore (Act 4)
» In quelle trine morbide (Act 2)
» Manon, senti, amor mio (Act 4)
» Sei tu che piangi? (Act 4)
» Sola, perduta, abbandonata (Act 4)
» Tutta su me ti posa (Act 4)
Tosca
» Vissi d'arte (Act 2)
Turandot
» In questa reggia (Act 2)
» Signore, ascolta (Act 1)

Artists

Anna Netrebko (soprano)
Yusif Eyvazov (tenor)
Orchestra dell’Accademia Nazionale di Santa Cecilia

Conductor

Antonio Pappano

About

The “Diva Assoluta del Mondo” (Opera News) is back, as you have never heard her before!

With Verismo Anna Netrebko presents her long-awaited new studio album – the first in three years – displaying her remarkable vocal maturity and reaffirming her status as one of the leading sopranos of her generation.

For Anna Netrebko herself, it was the obvious next step; for her public it promises to be a revelation. The challenging verismo repertoire offers a fascinating portrait of Netrebko’s voice in its full maturity. Having reached the latest peak in an already sensational career, the soprano continues her vocal and artistic development in logical fashion, illuminating the stylistic and psychological complexities of verismo with her own special intensity and powers of expression

Set to be one of the most important and anticipated classical releases of 2016, Verismo features Netrebko in the greatest, most irresistible hits of the grand Italian repertoire of the fading 19th century, with arias by Puccini, Leoncavallo, Ponchielli, Boito, Giordano, Catalani, showcasing brand new interpretations of some of the greatest and most popular opera arias of all time.

A winning classical music team – Anna Netrebko and Sir Antonio Pappano – are now joined on record for the very first time by Anna’s husband, the tenor Yusif Eyvazov.

Anna Netrebko has reached the heart of the rich, mature dramatic repertoire that allows her to showcase the sheer beauty, endless, wide range of colours and emotion in combination with her distinct and beloved timbre that sets her apart from any other artist, past or present. In many ways this album is a self-discovery for this unique artist, and is destined to reach Anna’s widest fan-base

Verismo at the turn of the last century introduced “real life” experience to opera and left behind the romantic approach of bel canto. Netrebko’s recent performances of Verdi’s Macbeth and Il Trovatore but also her role debut of Manon Lescaut in March 2014 in Rome, have shown that she is able to combine the most beautiful sound production with the harsh, sometimes brutal and scary reality of those heroines she is awaking to life for us.’

Reviews

She has yet to sing most of these roles on stage, but inhabits them convincingly, though consonants are rarely a priority: her Madam Butterfly sounds aptly aged by sorrow, her Turandot impassioned and imperious, her Adriana Lecouvreur radiantly self-assured. For the final act of Puccini’s Manon Lescaut she is joined by her husband, Yusif Eyvazov, a good tenor who has married well. Antonio Pappano is, as ever, the ideal supportive conductor, and the orchestra plays as if it loves Netrebko’s every note.  Erica Jeal
The Guardian 16 September 2016

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