(This text has been automatically translated by Google translate)
Opera star Anna Netrebko begins her homage to Giuseppe Verdi with a remarkable choice: she sings Lady Macbeth. Verdi once wrote a famous letter in which he expressed objections about a singer who sang this role: she was too beautiful and she sang too beautiful! And that while Netrebko is considered by many opera enthusiasts as one of the most beautiful women in the world. But there is another striking… thing about her decision to add Lady Macbeth to her repertoire. The role is usually sung by a dramatic soprano: a powerful soprano with a dark timbre. Until now, Netrebko sang roles that required a lighter voice type. With this album she therefore makes a switch to the dramatic repertoire. The question is whether that is a good choice, because Netrebko can indeed color her voice dark in the depths, she still lacks the power that is typical of the dramatic soprano. Now it is dangerous to hang everything on a vote classification system that was not in use in Verdi's time. There is a fascinating recording of baroque specialist Simone Kermes, a high soprano, as Leonora in Verdi's Il Trovatore (another role for 'dramatic soprano'). Kermes is very convincing as Leonora, even if she sounds different from what we are used to. The only difference is that Kermes isn't trying to sound like a dramatic soprano. Netrebko does, with mixed results. (CP) as Leonora in Verdi's Il Trovatore (another role for 'dramatic soprano'). Kermes is very convincing as Leonora, even if she sounds different from what we are used to. The only difference is that Kermes isn't trying to sound like a dramatic soprano. Netrebko does, with mixed results. (CP) as Leonora in Verdi's Il Trovatore (another role for 'dramatic soprano'). Kermes is very convincing as Leonora, even if she sounds different from what we are used to. The only difference is that Kermes isn't trying to sound like a dramatic soprano. Netrebko does, with mixed results. (CP)more
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