# La Traviata – Anna Netrebko



## Vitaliyka (Sep 28, 2016)

http://myfavoriteclassical.com/musical-note-la-traviata-netrebko/


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## nina foresti (Mar 11, 2014)

The great Anna gets better and better as her rich voice grows richer and deeper.
She is a beauty, an open, honest, earthy being, a fine actor, a stage animal -- the whole package.


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## Pugg (Aug 8, 2014)

Horrible production, never want to see it again.


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## Eddy Rodgers K (Feb 12, 2017)

Pugg said:


> Horrible production, never want to see it again.


I'm not a fan of regie, and I would've preferred a historically accurate production... but I did not find it horrible. I think it worked because it was minimalist. They didn't add stuff (like Nazis or Mickey Mouse), but rather, stripped it down. So, I think the production worked, yeah, even if it's not really my thing.


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## Pugg (Aug 8, 2014)

Eddy Rodgers K said:


> I'm not a fan of regie, and I would've preferred a historically accurate production... but I did not find it horrible. I think it worked because it was minimalist. They didn't add stuff (like Nazis or Mickey Mouse), but rather, stripped it down. So, I think the production worked, yeah, even if it's not really my thing.


I a sorry, but I find it insulting this kind of staging. 
( not your comment to be precise)


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## Pugg (Aug 8, 2014)

If you want a modern setting: try this one, it's a cross between both worlds.
Mat not be "world stars" but the whole is excellent.

http://www.prestoclassical.co.uk/r/Opus+Arte/OA0934D


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## Bellinilover (Jul 24, 2013)

From the looks of it, I probably wouldn't like the "regie" production either. However, there was one production of TRAVIATA starring Anna that was set in the 1920's (I think it was done at Los Angeles Opera or San Francisco Opera). I probably would have liked that one, and it's probably the setting I'd choose to do were I a director.


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## BalalaikaBoy (Sep 25, 2014)

haven't watched the clip, but I much prefer her in this rep than heavier work like Lady Macbeth, Norma, etc. she isn't a terrible singer (certainly not my taste, but respectable in the right rep), but she is a prime example of why I consider the concept of vocal fach such a necessity. if you don't sing the right rep, which you have both the vocal traits and technique for, your performance quality will suffer.


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## Sloe (May 9, 2014)

Bellinilover said:


> From the looks of it, I probably wouldn't like the "regie" production either. However, there was one production of TRAVIATA starring Anna that was set in the 1920's (I think it was done at Los Angeles Opera or San Francisco Opera). I probably would have liked that one, and it's probably the setting I'd choose to do were I a director.


I think La Traviata should at least be set during Verdi's lifetime. It was set in present time when it was new but now it is a product of another era and I think that should be reflected.


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## Woodduck (Mar 17, 2014)

Sloe said:


> I think La Traviata should at least be set during Verdi's lifetime. It was set in present time when it was new but now it is a product of another era and I think that should be reflected.


I agree. The music of _La Traviata_, in its Romantic atmosphere and delicate, pressed-flowers sensibility, sits oddly with our contemporary world, as does its portrait of society. It suggests a mid-19th to pre-WW I 20th-century setting. That should give directors plenty of room for creativity. I found the Salzburg "clock" _Traviata_ unsatisfying and irritating, especially in the third act, although Netrebko and Villazon sang and acted very well.


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## nina foresti (Mar 11, 2014)

I thought the title of this thread was La Traviata -- Anna Netrebko.
So the production stunk. Yes Signor Green would have been quite upset to see his work decimated by the likes of Willy Decker -- a hubristic, talentless, egotist, but gratefully a lousy production can always be saved by superb talents like Her Nebs and Rolando.
Their singing and chemistry was still beautiful and saved the day.


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## Sloe (May 9, 2014)

Woodduck said:


> I agree. The music of _La Traviata_, in its Romantic atmosphere and delicate, pressed-flowers sensibility, sits oddly with our contemporary world, as does its portrait of society. It suggests a mid-19th to pre-WW I 20th-century setting. That should give directors plenty of room for creativity. I found the Salzburg "clock" _Traviata_ unsatisfying and irritating, especially in the third act, although Netrebko and Villazon sang and acted very well.


You said what I was thinking.
And seeing Rolando Villazon in a suite makes me think of Mr Bean.


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## Pugg (Aug 8, 2014)

nina foresti said:


> I thought the title of this thread was La Traviata -- Anna Netrebko.
> So the production stunk. Yes Signor Green would have been quite upset to see his work decimated by the likes of Willy Decker -- a hubristic, talentless, egotist, but gratefully a lousy production can always be saved by superb talents like Her Nebs and Rolando.
> Their singing and chemistry was still beautiful and saved the day.


You must be a die hard fan of this setting/ couple.


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## nina foresti (Mar 11, 2014)

Pugg said:


> You must be a die hard fan of this setting/ couple.


No question that you are right there, Puggy miluv! (Not of the "setting" but rather of the "couple".)
Ever since seeing their magic in an LA production of _Romeo et Juliette_ I have been a huge fan of the charisma they produce together.


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## Don Fatale (Aug 31, 2009)

I saw this 'clock' production at the cinema last night. Words fail me. It needed charisma, or something, but Yoncheva and Fabiano didn't have it and couldn't save this awful production. I rate her as a singer but she's not physically expressive, like say Netrebko or Gheorghiu. I'll take a look at the Netrebko performance (link in first post), but not sure I can watch the whole thing again.


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## DavidA (Dec 14, 2012)

Don Fatale said:


> I saw this 'clock' production at the cinema last night. Words fail me. It needed charisma, or something, but Yoncheva and Fabiano didn't have it and couldn't save this awful production. I rate her as a singer but she's not physically expressive, like say Netrebko or Gheorghiu. I'll take a look at the Netrebko performance (link in first post), but not sure I can watch the whole thing again.


Glad I missed that one!


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## Dongiovanni (Jul 30, 2012)

Been planning to write something about it... this thread was a reminder  Went to Milan March 9th, the first of 3 performances where Netrebko sang Violetta after many years. Just three performances due to scheduling conflicts or other reasons ? Also quite noticeable: the brand new production was not revived, in stead the very old production that is as traditional as can be. I wonder if Netrebko pulled this of, or maybe it was new chief Chailly interfering. I saw the new one and it is terrible, I still feel sorry for the great Damrau and Bezcala who had to sing in it. Here there was plenty of space for Netrebko to act out her mature Violetta, with intensity increasing as the drama unfolds. In act three there was no holding back. Netrebko showed some top class acting. The letter scene before Addio del passato was breathtaking, the aria itself stopped the show. Her voice is still very comfortable with Violetta's music. I love Meli's voice who sang Alfredo, so bright and open. Nucci as the father is spot on. Arrogant at the start, but very remorseful at the end of act 2 and even more in 3, and what a voice. The orchestra played delightfully under meastro Santi, very slow tempi but they worked well most of the time, the prelude to act 3 was incredibly intense. As always, the Scala audience is very outspoken and just before act 3 someone shouted something about the slow tempi, but was muted by a huge booing and hissing that shut him up, followed by a praising ovation for the meastro. A very special performance, this one will be hard to beat. Curtain call picture snatched from Gramilano's blog.









I do like the Decker Traviata, but it's very likely because of the excellent performance.


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## Granate (Jun 25, 2016)

For modern stagings of *Operas in the Met 2016/2017*, if I had to choose between The Tristan und Isolde and the Traviata, I would pick the Traviata instantly. It worked marvellously on camera, the performers could be actors too, Act II opening felt like real love. There was more a *cinematical* feeling than theatrical (in which we have a good example in my opinion, Nabucco, and a lousy, ridiculous first scene of Idomeneo). To end my staging paragraph, well, this Met's Traviata adaptation of the 2005 Salzburg didn't have a great cast (mostly because of the males), but I felt absorbed by the staging and the camera shots.

And then about Netrebko and Villazón, they acted crazy at the Salzburg 2005 DVD, which I loved as an acting piece. But if Netrebko was gorgeous, that Villazón is the best Alfredo I've listened to.


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## Pugg (Aug 8, 2014)

Granate said:


> For modern stagings of *Operas in the Met 2016/2017*, if I had to choose between The Tristan und Isolde and the Traviata, I would pick the Traviata instantly. It worked marvellously on camera, the performers could be actors too, Act II opening felt like real love. There was more a *cinematical* feeling than theatrical (in which we have a good example in my opinion, Nabucco, and a lousy, ridiculous first scene of Idomeneo). To end my staging paragraph, well, this Met's Traviata adaptation of the 2005 Salzburg didn't have a great cast (mostly because of the males), but I felt absorbed by the staging and the camera shots.
> 
> And then about Netrebko and Villazón, they acted crazy at the Salzburg 2005 DVD, which I loved as an acting piece. But if Netrebko was gorgeous, that Villazón is the best Alfredo I've listened to.


Verdi would turn in his grave if he ever saw that production.


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