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Cologne with Anna Netrebko
8,000 Fans + José Cura = A Night Triumphant
José Cura and Anna Netrebko Delight in Cologne
(Thanks to Dana, Monica, and Virginia for their help in translating)
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Russia’s Most Beautiful Voice Captivates the Germans
Wolfgang Hübner
It was about an hour before midnight on Saturday, when the approximately 8ooo in attendance at the Cologne Arena got ecstatic, went wild. Only one (female) opera singer in the world accomplishes that kind of a feat these days: the beautiful Russian, Anna Netrebko. Together with tenor José Cura, who was likewise cheered and celebrated noisily and intensely, the 33-year-old soprano marked a triumphantly successful start to her Germany-Tour, which will take her on to the long since sold-out Alte Oper in Frankfurt this coming Tuesday, and then still to Munich, Mannheim, and Hannover.
The Russian from St. Petersburg, who managed to break through to international prominence with her appearance at the Salzburg Festival in 2002, did not take any risks: not with the selection of her music, not with the selection of the well-known, renowned partner to share the microphone of this huge venue. With the most popular arias and duets out of Verdi, Puccini, and Donizetti operas, but also with the ‘Jewel’ aria from Gounod’s “Faust” and the soulfully intoned ‘Song to the Moon’ from “Rusalka”, Netrebko and Cura were able to captivate and win over the audience--which only really warmed up and became enthusiastic after the intermission--and reap standing ovations.
[……]
The soprano, in the meantime in world-wide demand, does not present herself as a temperamental diva at all. As she enters and exits the stage, one observes a young woman, who does not celebrate that act as something momentous or of great importance; rather, it is obvious that she perceives herself to be a team player together with the Northwest German Philharmonic Orchestra and her colleague Cura, something that her spontaneous gestures testify to, also.
On one occasion after the intermission, the charismatic Argentine even stole the show from the almost too unassuming Russian with his tenoral vocal explosiveness, but in return, he received an especially cordial embrace from the beautiful Anna—an embrace that caused all the men throughout the arena to become envious.
Opinions may surely be divided as far as the musical value of classical hit parades like the one in the Cologne Arena is concerned. Anna Netrebko is, however, unrivalled as an attractive advertisement for a classical music industry plagued by worries about the future.
[…..]
Translation: Monica B.
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Stars
Kölnische Rundschau
As Anna Netrebko raised her voice to the silvery moon just like Rusalka did in Dvorak's fairy tale opera by the same name, the first bravi could be heard from the 8,000 who were present in the large Cologne Arena opera venue. Anna's rise to the top has progressed like a fairy tale; (but) there was no trace of the bitter cold, Rusalka's problem, in the well heated and well attended hall, and she didn't have to seduce a prince --she simply called him up. José Cura, the good-looking and moreover vocally powerful tenor from Argentina was pleased to follow the invitation.[.....]To mark the start of Netrebko's tour of Germany, a celebration of the most beautiful voices awaited those who had entered the Arena and come along for the ride through Rossini's Tell Overture on the moveable folding chairs there. Cura threw himself into his roles; he hurled himself at the hearts of his audience. He might just have been the inventor of the large screen so that not a single glance gets sent out in vain. He has preserved for himself the heart of a child, he told an interviewer, and because of that, he slips into his characters totally and completely.Cura's voice explodes like a volcano. If this, his indisputably God-given gift, which he uses lavishly, were ever to give out, Cura has the ability to conduct, compose, or become an opera house director. The man possesses many talents.By comparison, Diva Anna Netrebko, very natural in her demeanor, appears like a respectably solid concert soprano. With her it is the voice that glows, rather than the eye; she impresses as Violetta with flawless execution [.....]. And in the Puccinin hit "Oh, mio babbino caro", even a beauty like Anna Netrebko's becomes bodiless, ethereal. She possesses the voice of an angel, and for that, one can throw out the TV for once.translation: Monica B.
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SENSUAL POUT WITH IRRESISTIBLE PULL
Aachener-Zeitung
{.....}Verdi's Love Duet'More still: With her personal charisma and her emotional involvement, Anna Netrebko knows how to make her characters come to life. After the intermission, she starts up a bit easier as Rusalka (Dvorak) and Gretchen in Gounod's "Faust", but wait: the highlight, the love duet from Verdi's "Otello", is yet to come. At her side is one of those Latino beauties with whom she has been sharing her stage appearances these days.
In other places, Rolando Villazón and Ramón Vargas; in Cologne, the Argentinean José Cura, a tenor whose voice oozes sensuality. With glowing baritonal colouring, fantastically secure height, and personal nonchalance, he indeed follows as Otello in the footsteps of Domingo. And with 'fire-crackers' like the Pagliacci aria or Puccini's Nessun dorma, he threatened to upstage the Russian.Well, there were lots of delights to be heard and seen on this evening in Cologne, although here, art turned into pure event. And for that, the artistic talents of both are truly too good.'Pedro Obiera/ translation: Monica B.
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The Pop Star of Classical Music in Cologne
Kolner Stadt Anzeiger
Cologne—She is young, beautiful, and extremely talented; moreover, she is also hugely successful: opera singer Anna Netrebko is the pop star of classical music. With lots of talent, media savvy, and effective marketing, the 32-year-old Russian manages to appeal to and engage an audience, which extends far beyond the small circle of classical music fans. On Saturday evening, an audience of 8000 celebrated this exceptional soprano at the Cologne Arena with tempestuous applause on the occasion of the kick-off to her Germany-Tour 2005.
[….]
Netrebko spells good fortune for a classical music scene in crisis. […] “After all, the idea is to bring operatic music to a broader public”, she said recently in an interview. “Sometimes, I’ll go to an opera, and what I see is so dusty, so old-fashioned. For today’s audience, one really has to come up with something different.”
At her Cologne concert too, some entertainment had to be included in the show, which was modest in its staging. In one scene, for example, her equally convincing partner in song, the Argentinean star tenor José Cura, who was hiding in the audience, proceeded to approach the stage slowly, drawn by Anna Netrebko’s searching glances.
An atmosphere of wild exuberance prevailed also through the four encores. In the repeat rendition of “O soave fanciulla” from Puccini’s “La Bohème”, Netrebko and Cura showed a very human side: a kissing scene triggered a fit of laughter in both singers. The 8,000 listeners thanked them with applause that lasted for minutes as well as with vociferous shouts of ‘bravo’.
(dpa)/translation: Monica B.
On the Spot Reviews
MIRACLE AT THE COLOGNE ARENA
by Melinda (Hungary)
My heart felt heavy with joy to hear, that Jose is going to join Anna Netrebko's concert at the Cologne Arena.
It seemed to be unbelievable that such a big stadium was almost filled to capacity.
José's sharp sense of humour grabbed the audience from the first scratch. 'I'll take my ugly face out from the stage and bring the beautiful Anna!' This sentence mirrored that he was going to be just the second fiddle of the show, a guest star and the leading role was generously offered to the 'Russian beauty'.
Anna was not so self-confident as I expected, she was extremely nervous in her opening Traviata aria, definitely seemed to struggle with stage fright. José was extremely supportive, and chivalrously polite to her. She was treated like
a queen.
This time José broke with the tradition of wearing a black shirt, and jumped in an impeccably cut dark suit with standing collar. It highlighted his athletic physique. Contrary to Anna, he looked confident, but in a modest, very down to earth way.
Anna's gorgeous evening dresses /she changed for the second part/ showed her beautiful, hourglass figure. She had great success with Traviata and with Regnava nel silenzio from 'Lucia di Lammermoor.'
But I have to say that after José's Vesti la giubba the trend definitely seemed to get to its turning point and the audience kept getting more and more enthusiastic about him. It was undeniable that his crystal clear voice, which lacked inaccuracy during the whole night, deserved the sweeping success, conquering Netrebko fan's heart as well.
Sorry to say, but I suppose the most part of the audience wasn't prepared enough to appreciate the more than difficult Dio mi potevi scagliar from 'Otello.' For me it was too wonderful for words!
Their amazing duets from 'Traviata,' La Boheme,' and especially the Gia nella notte densa from Otello showed that they could be the dream couple of the 21st century opera, but I have the feeling that José's outstanding talent seemed to jeopardize Anna's, unconsciously fading her out. The PR machine behind her might have to reconsider their further cooperation...
More than 45 minutes of standing ovation.... and the icing on the cake, his Nessun dorma was exceptionally mind blowing, meant the climax of this evening.
His perfect identification to the different roles made me Goosebumps a couple of times. His facial expressions, and every tiny part of his body faithfully mirrored the role he was in, radiating uniqueness.
The small flashing lamps in the final part made the mood very solemn and touching. The number of additions showed that they could hardly say good bye to the show.
I'm convinced, that the Arena had never have witnessed such success at this kind of music, and José Cura's was the lion's share of it!
José kept his promise and unforgettably mesmerized his audience!!
JOSÉ CURA & ANNA NETREBKO CONCERT
COLOGNE ARENA
Zsuzsanna
by Zsuzsanna
We have long desired to welcome José Cura’s performance in a huge sport arena that afforded multiple capacities of the opera houses and concert halls and to experience his impression on the audience in that circumstance. After enjoying the most plentiful harvest of José’s opera calendar of the last season, it was also time we had participated in one of his live, genuine concerts. The first stop of Anna Netrebko’s German Concert Tour offered this opportunity in the Cologne Arena. We did not know too much about the event, the local posters emphasised Anna’s appearance and only secretly referred to a “guest star”. The Arena represented a spectacular location to host these two celebrated artists of the opera word. The excitement increased noticeably as it was almost filled up by beginning of the concert. It was an event where everybody could find the most lovely moments during the night being entertained by Anna Netrebko’s confident, very airy, dreamy soprano; José Cura’s velvety soft timbre and healthy, ringing voice and brilliant top notes; their warmth duets and the dynamic orchestra (Nordwestdeutsche Philharmonic Orchestra, conductor: Michael Güttler). Tough giant screens were placed in the arena, I preferred to base myself on my opera glasses to enjoy José’s act through his talkative eyes and facial expressions, little gestures and body language while stepping into the characters. We wished that the program would never come to an end and the singers seemed to be in the same opinion. The celebration of the artists recalled the spirits of big sport events. Thunderous applauses, cries/whistles of joy, stampings of feet accompanied the many curtain calls. It turned into an arena sized, unified standing ovation at the end of the official program and repeated again after each of the four, generous encores.
The first surprise arrived with the huge booklet of Anna Netrebko and the beautiful program leaflet. The two singers shared the night in the same extent performing a wonderfully constructed, wide scaled and demanding program of great arias and orchestral pieces. Well placed, rewarding overtures (Rossini’s William Tell, Bellini’s Norma and Verdi’s La forza del destino) and the Pagliacci Intermezzo coloured the singing parts. Anna Netrebko did not disappoint us, a very enjoyable, clear and easy-flowing voice was hiding behind the attractive looks she could use and act with. Her arias conveyed beautiful, youthful sound and energy, moving grace or melancholy. Her great solos charmed us the best right after the intermission (Rusalka: “Song to the moon”) and during the encores (Gianni Schicchi: "Oh, mio babbino caro"). Her accounts on the roles of Violetta of Traviata (“O qual pallor”), Lucia di Lammermoor (“Regnava nel silenzio”) and the Jewel Song (Gounod’s Faust) also deserved the remembrance. She absorbed these difficult roles through convincing, elegant acting and solid technique that coupled with great stamina. She was also a sensitive partner of José in the duets. When she had to face with deeper and denser timbre, she was able to find even more exiting tones as well.
José Cura left his unique card with the concert. One could say he was in a pleasant situation as being an invited guest and this time he did not take the podium to conduct his partners. Yet, he just twisted more thousands people round his finger with his first Corsaro solo (“Ah si ben dite”) and immediately set up the lovely atmosphere of the night and increased it with his each appearance again.
He nicely expressed his thanks for the many invitations and love of the German and local audience he received so far, and just couldn't believe in the number of the people attended at the Arena this evening.But above all he turned our attention to Anna Netrebko. José had a strong intention to keep his figure in the background and emphasise Anna’s acting here, helping and pushing her forward in the duets as well. He could not help on that his spirit broke out from the bottle and unquestionable conquered the whole arena, Anna’s admirers as well. Beside of his beautiful acting voice, he radiated unbelievable good spirits from the stage, it was his cloudless enjoyment of music and acting. He was also a gentleman and a showman to guide his partner and the concert unnoticed from the background. José sang with smiling voice and love folding the audience in his arms. In the most dramatic arias of Cavaradossi, Pagliaccio and Otello he transformed this mood into horrible intense, heartrendingly bitter, passionate confessions. I agree that the very painful and radiant Pagliaccio solo (“Vesti la giubba”) represented the total break through of the evening, as his direct, very honest interpretation earned the greatest celebration. This time his Pagliaccio’s sobbing can be heard only from inside through his act. Stepping into Otello’s soul his “Dio mi potevi scagliar” was the most glorious rendition of the aria I’ve ever heard from him. You wondered how he could set up this touching tone with his acting voice alone creating such immerse, intimate moments in that huge arena that chained everybody to the stage for long minutes, then welcome the revenge with dreadfully frightening words and crown it with that enormous, brightly ringing high notes.
In the duets we also kept our fingers crossed for José to be successful in conquering the mysterious, very attractive diva of the operas. They acted very well together and Anna Netrebko’s singing contributed to this “image” very effectively. They enchanted us already in the first part in the Traviata duet, where José joined Violetta with his warm voice from the distance while walking toward the stage. What fun we enjoyed in the La Boheme aria (“O soave fanciulla”)! José exploited every opportunity of the situation and acted with so devilish smart and humour in his voice and movements that not any woman’s heart, even Anna Netrebko’s could be able to resist him. As the final aria of the official program, the Otello duet (“Gia nella notte densa”) really crowned the concert and deserved the glorious standing ovation from every part of the arena. The gorgeous music blended the colours of the two magnificent voices into a huge syrup of joy and we knew they wouldn’t escape from the Arena easily.
The four encores served as a third part of the concert. Almost ten thousand people granted the singers a celebration after each piece lasting longer than the length of the aria. First we were delighted by Netrebko’s wonderfully touching Puccini’s solo ("Oh, mio babbino caro"). Then José’s Nessun Dorma was the equally beautiful answer for this challenge with his long, triumphal and blazing “Vincero”. They continued with the joyful Brindisi from Traviata while we accompanied the rhythm with thousands of small lamps in the dark arena and sang the refrains together with them. Finally they repeated again the La Boheme duet, turning it into a lovable comedy. I must say their voice blended the most delightfully here again and it was further emphasised as José just played with the phrases and words while using his uniquely dark, burnish timbre. Anna could not bear José’s unexpectedly intense actions while approaching his Mimi and severely refused him with a spontaneous reflex. Seeing Rodolfo’s quite injured, proud and disarmingly childish surprise and indignation, she and the audience burst out laughing that was hard to hold back during the aria. Of course, José reversed the roles then, now he was the reluctant one to receive Anna’s courting. But after giving up his unbreakable, sad reserve, he surrendered himself with an almost invisible smile and the couple united in a long embrace. After receiving the most prolonged ovation of the night, the protagonists nicely took leave of us. This ended the concert of three hours and we wished if José would add Puccini’s La Boheme to his repertoire in the near future.
All the best,
Zsuzsanna
Last Updated: Monday, January 16, 2006
© Copyright: Kira
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