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Recital Anna Netrebko “Day and Night” – Review

8:30 p.m., silence falls in the main hall of the Philharmonie where the many spectators await with palpable impatience the entrance to the stage ofAnna Netrebko. It must be said that his concert originally planned for the fall of 2020 as part of the series Les Grandes Voix, has been postponed twice. Applause crackles here and there then calm returns, a few more minutes pass, impatience reaches its climax when suddenly here she appears, unleashing long cheers and enthusiastic bravos on her way. Dressed in a white dress with flared sleeves, encrusted with black and shiny patterns, the diva, visibly moved, calmly advances towards the piano, followed by her two musicians. The applause fades, a spectator who tries to question him on the garden side is quickly overwhelmed by the disapproval of the public. There will be no further incidents.
As she declaims the verses of Bajazet which precede Adriana Lecouvreur’s entrance aria, the singer turns to the right, detaching in an undertone each syllable of the phrase “E ritorni al serraglio l’augusta sua pace” (May peace reign again in these places). Then she delivers a masterful interpretation of “Io son l’umile ancella” sprinkled with absolutely sumptuous spun sounds. The room exults. From then on everyone knows that they are going to attend a memorable evening whose program entitled “Day and Night” takes up some of the tunes she had proposed during the confinement, during a recital which was part of the “Met Stars Live in Concert” series. This generous program, composed mainly of Russian, Italian and French melodies and a few opera arias and duets, is centered around nature, spring, birds, the sun and the night.

Thus “Siren” (The lilac) delicately evokes the fragrant freshness of dawn and “Zdes khorosho” (It’s sunny here) the splendor of a rural landscape, Anna Netrebko interprets these two Rachmaninoff melodies with a pure timbre, restrained, and concludes the second on a high B pianissimo extended by an epilogue on the piano which highlights the delicate touch of Malcolm Martineau whose subtle and refined accompaniment will do wonders throughout the evening. From her entrance tune, we are captivated by the way the soprano appropriates the space, she walks along the stage with a majestic bearing, she sometimes addresses the spectators who are on the garden side, sometimes to those who occupy the court side and does not hesitate to turn towards those behind the scenes without the sound of his voice being lost for the others, so sovereign is his projection. She approaches “Morgen” nonchalantly seated on a step while the delicate violin of Giovanni Andrea Zanon joins Martineau’s piano – as for Cilea’s air – in order to create a beautiful sound setting around her voice, whose colors she varies with infinite nuances. “Breit über mein Haupt” rises to the same heights. In the air of Louisa , the soprano still delights us with her splendid floating trebles which she extends at will to the delight of the audience. After a melody by Tchaikovsky, the lyrical flights of which highlight the breadth of her voice, the singer ends the first part of her concert with two pages of Leoncavallo, the aria of Nedda in which, however, we expect a lighter voice and ” Mattinata” originally composed for a tenor, of which Netrebko delivers an electrifying interpretation that sends the audience into a frenzy.

Change of outfit for the second part. The soprano sports a magnificent dark green dress adorned with a pale green stole, matching the elegant emerald green dress worn by Elena Maximova came to perform with her two famous duets, that of Pauline and Lisa from The queen of spades just after the intermission, and the barcarolle of Tales of Hoffmann at the end of the evening. The mezzo-soprano has a dark tone which harmonizes perfectly with the voice of her partner, she will be warmly applauded during the salutes. During this part, Anna Netrebko offers other melodies by Tchaikovsky, Rimsky-Korsakov and Rachmaninoff which she interprets with as much happiness and conviction as at the start of the evening, supported by Malcolm Matineau, and Giovanni Andrea Zanon for “Ne poj, Krasavica, prime”. The singer is particularly moving in Dvořák’s gypsy song with its melancholic accents, while the two Lieder by Richard Strauss confirm the affinities of her voice with this composer. She also has a nice surprise in store for us, the air of Dalila “Spring which begins” which she sings superbly with accents of torrid sensuality in her voice and sonorous bass, never emphasized. At the end of the aria, she makes it clear, laughing, that she does not intend to sing the entire role. After “The silver aria” excerpt from The Ballad of Baby Doe by Douglas Moore, with its great lyrical phrases and superb final treble, the program ends in a good mood with Tosti’s “Serenata”. Happy and in great shape, Anna Netrebko finally offers three encores, “In quel trine morbide”, “Il Bacio” by Luigi Arditi which she adorns with numerous trills and the essential “Non ti scordar di me” for two voices. Then, with a radiant smile on her lips, she disappears in the company of her three acolytes, not without thanking the public on several occasions for the fervent and warm welcome they have given her.

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