She was wearing a long green dress with intense seductive power during the Rimsky Korsakov first part where her rich voice with lots of silvery shades and clear tops had a real oriental addictive flavour...
The cycle of lieds about the Nightingale and the Rose took me as far as possible from Salle Gaveau, where the Damask rose flowers and the rooves are blue.
Anna Netrebko was somptuous, voice and looks, offering the same generosity I noticed in Berlin, for the Benefit concert, moving on the stage, expressing feelings and changes of mood, not only in her singing but also acting these very poetic love stories.
This time she was accompanied by Elena Bashkirova, very passionate too.
The first part followed the live recital given at the 2009 Salzbourg Festival (album DG 'In the Still of Night) with eleven lieds.
After the intermission, the oriental touch gave way to utter passion and despair with P.I. Tchaïkovsky's Romantic melodies.
There are no metaphors here for expressing melancholy, and words like 'spleen' gloomy days' 'frenzy' of love, are part of the feelings expressed. Excitement of love and questioning of the soul are at the roots of the melodies where both voice and piano are flying high with strength and passion.
Sometimes there is more intimate dialogue with the piano, muttered words, where the voice shows the abilities of its vast range and modulation. Sometimes there are cries of despair, similar accents to what Tatiana expresses when she writes her letter to Eugene Onegin. Now Anna Netrebko is in full blossom of her art of singing and I was under the charm of this voice and artist. The shining pearls of the brown long dress for this rather sad second part made her look like a Greek adorned muse of the Melancholic yearning for Love. 'Otcego', Why? could be my favourite melody but it is hard to decide!
What she did when singing 'Den' licarit' was mesmerising and makes me realise again that listening to my cd at home is not even the quarter of the route I share with the artist when she is there for me...and a full house!
Each syllable, each inflexion is acted by her swaying body, the motion of her arms, her smiles.. at one point she patted nervously the back of her neck and I thought it could hurt because she gave so much intensity in each rendition of this part too ...The Tchaïkovsky melodies are devastating and for sure she must have been exhausted...
Yet, she gave three encores, with a standing ovation which lasted nearly during the three encores...
Morgen (Strauss), the last one, after Cecilia(Strauss) and Dvorak 's Song My Mother Taught me'. Here's the link...
( extract From my friend Arnaud)
She introduced Morgen "every body knows,quiet and happy".
A woman 's voice could be heard after the silence of the end, just before the first clap:
'Spaciba'
Well deserved!
I joined my friends and we all queued in the fangroup.
When she appeared, she was radiant, with the same happy catching smile for us, and the spontaneity she has, saying that Manon she sang at the Met was the last one because it is too difficult for her voice which has become heavier after her son's birth, and someone said Thaïs could be a nice challenge for her:'''Oh no no, I don't like this opera'... she is a fantastic person! She sees Faust, Gounod, in her scope, on the French opera side. She will sing Manon Lescaut (Puccini) She knows better anyway!
Part II, same also as the album 'In the still of night' except for the Lullaby, she did not sing it.
It belongs to Tiago now... if it is so, I totally agree.
What a memorable evening!
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