Anna Netrebko, a diva who comfortably crossed the Colón

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as a coronation of a difficult year for his career (in which various institutions have decided to cancel their engagements with the diva citing their sympathy for Vladimir Putin), the Russian soprano Anna Netrebko had her long-awaited return to the Teatro Colón, when the memory of her debut four years still hovered makes the air.

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On this occasion, your visit not only includes this recital, but also three features of the last title of the season, coarse. As usual, Netrebko She came in an artistic duo with her husbandtenor born in Azerbaijan Yusif Eyvazov.

The program – which has undergone changes in order and some additions and cancellations compared to the one announced – included a first part dedicated to chamber singing and opera in Russian, with a predominance of Netrebko’s performance; the second, on the other hand, placed the emphasis on Italian opera and singing, with some “license” and a stronger presence of Eyvazov.

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like at home

While what is common in recitals is for the singer to sit motionless near the piano, from his first block -with songs by Rimsky-Korsakov and Rachmaninoff- Netrebko has spun 360 degrees around him; as if she were in the comfort of his own home, she moved at ease around the stage decorated with a few armchairs, tables and chandeliers, no doubt part of the scenography of coarse.

With a performance that offered equal parts focus and delivery, turned four independent chamber operas into a small monodrama.

The same thing happened later in his second intervention, which included melodies and an aria from the opera. The Queen of Spades by Tchaikovsky.

It is very remarkable that, with the exception of one song in the second part, Netrebko sang everything by heart, which allowed him to get in touch, in a superlative and barrier-free way, with the music, the text and the audience. If it is true that singers are divided between “stage animals” and those who are not, Netrebko undoubtedly belongs to this category.

A somewhat stiff husband

The case of Yusif Eyvazov is different, a meritorious and hard-working singer who gives his best performance, even if the result is clearly uneven with respect to his wife’s exceptional performance.

Holding on to the sheet music folder, Eyvazov does not find many expressive nuances and his body attitude is rigid. On a vocal level, it is clearly not the chamber piece that best suits his instrument, and certainly the role of Cavaradossi, in coarseit will show you more comfortable.

After the intermission, Netrebko surprised once again with a block of different music, hypnotically shaped: two beautiful songs by Strauss (Cacilia Y standchen), one by Dvorák (the famous When my mother taught me to sing) and one by Tosti (Serenade), and two arias, After the day by Louise de Charpentier in a very delicate version (unfortunately suffocated by one of the many first ovations) and the aria from nedda from clown (Leoncavallo).

The block that followed, led by Eyvazov and consisting of songs by Tosti and Gastaldon and the Frederick’s lament from The Arlesiana de Cileait was incredibly monotonous.

The beauty Morning by Leoncavallo sung with ease by Netrebko (also saving a setback in attack) and two songs by Ernesto De Curtis closed the program; in the last work (I don’t remember tell me) was joined for the third time by the excellent Freddy Varela Montero, concertmaster of the Orquesta Estable del Colón.

Whether the singers were able to feel at home throughout the evening is largely thanks to the very young pianist Ángel Rodríguezalways attentive to the evolution of the voices and with a musical sensitivity engraved on fire.

Despite the din of a packed house eagerly awaiting a “third time” in encores, the artists only gave away two works, though their yield was such as to nearly satiate the audience’s appetite.

Netrebko sang, barefoot and circling the stage, the waltz Meine Lippen sie küssen so heiß of the operetta judged (Léhar) and Eyvazov the inevitable Grenade (Lara), in which his wife had a hilarious “cameo” at the back of the stage.


Cycle of the great performers

Qualification: Very good

musicians: Anna Netrebko (soprano), Yusif Eyvazov (tenor), Ángel Rodríguez (piano) Theater: Colón, Monday 21 November

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Source: Clarin

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