MET Anna Bolena Update

[whipped guy]

As seen on 10/10, the MET’s new production of Donizetti’e Anna Bolena proved to be a success. The stage design, costumes, and staging were thankfully traditional in nature and perfectly evoked the aura and scale of the Tudor court. Only the graphic representation of the aftermath of Smeaton’s interrogation and having Rochefort wear a pair of plaid boxer shorts as part of his prison garb proved to be in questionable taste.

 

Bass Ildar Abdrazakov as Enrico first appeared as a dashing rogue, but was quite imposing in the later scenes where he was the perfect representation of Holbein’s Henry. Vocally he did not arouse the last word in power and force, but still provided a satisfying vocal presence. Stephen Costello in the role of Percy used his flexible and bright tenor to good effect, and even attempted the trill in his opening aria. Of the two women in the mezzo range, Tamara Mumford in the smaller trouser role of Smeaton was the most impressive. There will be larger roles in her future. Ekaterina Gubanova as Giovanna was announced as being indisposed due to a cold and that most likely accounted for her rather rough vocalism in sustained forte passages. Fortunately, she remained effective in softer and more ornate passages.

 

This brings us to the title role… and no discussion of Anna Bolena can occur without mentioning Maria Callas. It was one of her greatest successes and indeed she is still unsurpassed since she first sang Donizetti’s queen at La Scala in 1957. Of the major interpreters since Callas, both Sutherland and Caballé came too late to the part. Elena Suliotis was on the right track, but did not have the resources to back it up. Sills’ voice was too light for the role, plus she wildly over-ornamented the vocal line as was her wont. Lella Gencer was the first to inherit the part from Callas and while satisfying, her unfinished vocalism lacked the polish that was the hallmark of the Callas interpretation.

 

So how does Netrebko fit into the equation? Surprisingly actually quite well! The voice is indeed creamy and luscious… larger than in the past, but still perhaps a half size too small for the wronged queen. She attempted all the trills, but they were not executed with the mastery of a Callas or the precision of a Sutherland. Likewise, her legato and soft singing in “Al dolce guidami” was not as supreme as that of Callas, but decent nonetheless. Her biggest miscalculation was in the delivery of the infamous line “Giudici! Ad Anna!”… which ultimately proved to be one of the high points of the Callas interpretation. Instead of delivering the passage forcefully as did Callas, Netrebko diminished the size of her voice at this crucial moment and in the process sounded like a whining child as opposed to the imperious queen ill-treated by the actions of her tyrannical husband. Indeed, realizing her limitations, Netrebko approached many passages in a softer manner than did Callas… most effective was the way she caressed the high note on the word “infiorato” in the final scene. Consequently, given her limits, Netrebko was able to be effective… and with a bit more work and a bit more thought a truly fine interpretation is in the making. Indeed, I hear an improvement since she first sang the opera in Vienna several months ago. Also, based on reviews of the opening night, I think she possibly has even improved a bit since then as well. The audience certainly loved her! That she does posses the gift of charisma certainly helps… perhaps I was taken in a bit by it as well as I did not expect to enjoy the performance as much as I actually did.

 

Finally a word about the conducting and the edition, Marco Armiliato gave a workmanlike reading of the score… yet respected the singers. The oft cut overture was included as was the tenor aria “Vivi tu”. With the exceptions of the finales to both acts, all cabaletta repeats in aria, duet, and ensemble were cut. In addition, other small cuts were made, many involving coda material. Even with the cuts, the score clocked in at about three hours… and that did not include the half hour intermission. Incidentally cameras were filming the show, possibly as a rehearsal for the HD event… I sense a DVD in the future.

[+ WilliamM]

I was at Met last night as well. I mostly agree with your comments, although I am not as well versed in the opera or the other singers. I have enjoyed Callas' and Caballe's live recordings, despite not great sound quality. On Anna Netrebko, I liked her performance in general. I was disappointed in her trills, even allowing for my knowledge going in that she was not going to measure up to some of the singers you mention in your comments.

 

"[C]reamy and luscious" are good words to describe her voice. I have always enjoyed her acting, and did again last night. In the age of HD and DVDs, Netrebko is in her element: she is beautiful, and one can imagine her as Anna Bolena (as well as the other roles she has played at the Met as far back as "War and Peace). I mean the comments in the last sentence sincerely.

 

I was sitting on the side in the Grand Tier. For much of the evening the people around me seemed just mildly involved in the opera. I was very surprised at their wild cheers and applause for Netrebko at the curtain calls. Until the end, I had assumed they were not thrilled by the singing and the conductor (probably right on the conductor). I have never seen or heard that unexpected very positive reaction before at the Met or any opera house in Europe.

[doitb4ugo]

As someone new to opera in general, and as someone whose interests are more attuned to the dramatics and staging of the piece, I thoroughly enjoyed Anna Netrbko's performance. Her ability to set the tone and dramatic tension was super. The opera seemed a bit slow to me for the first part but the later part of the drama had enough emotion and tension that made up for the lack of dramatic complexity....The staging was also very effective and using a single complex set was a real plus in keeping the drama moving and coherent. All in all, I enjoyed it very much...Forgot to add I saw the HD Live version in our theatre.

[+ Italiano]

As someone new to opera in general, and as someone whose interests are more attuned to the dramatics and staging of the piece, I thoroughly enjoyed Anna Netrbko's performance. Her ability to set the tone and dramatic tension was super. The opera seemed a bit slow to me for the first part but the later part of the drama had enough emotion and tension that made up for the lack of dramatic complexity....The staging was also very effective and using a single complex set was a real plus in keeping the drama moving and coherent. All in all, I enjoyed it very much...Forgot to add I saw the HD Live version in our theatre.

 

I think that newcomers to opera who react positively are definitely the right response to opera!

Opera buffs (like me...) can sometimes be a bit pedantic and "too much" in judging trills, roulades scales, high notes etc etc, forgetting the general purpose which should just be just "enjoyement". Thanks doitb4ugo!

 

By the way I am in Milan visiting family, and I just saw at La Scala (still a GORGEOUS theatre despite the terrible crisis of Opera Theatres in Italy) a BEAUTIFUL performance of Strauss' "Der Rosenkavalier", with an amazing American singer in the title role, Joyce DiDonato. She was SUPERBE! And the rest was VERY VERY good.

She happens to be also a good friend of mine, she gave me a ticket to the show and I sat for the first time in my life in the famous cenral "Royal Box" of this magical theatre. What an experience!!

She will be also sing the title role in next opera at La Scala next week (Rossini's "La donna del lago", with also the Peruan tenor Juan Diego Flores) and I am going to see the dress rehearsal this coming Sunday. Excited!

[whipped guy]

I think that newcomers to opera who react positively are definitely the right response to opera!

Saw an acquaintance the other day... and she had no clue that I knew anything about opera... and she started raving about the HD transmission of Anna Bolena... It was her first operatic experience... I guess Mr. Gelb is doing quite a service by making opera available to those who have never experienced it previously... and to think a true rarity like Bolena was a first experience!! Donizetti is smiling up there! Amazing!