Track 9: “Sola, perduta, Abbandonata”, air by Manon Lescaut by Puccini. Here is the beach on which to rush in this oppressive disc of heroines condemned to darkness. There are the chills, the tears, the upturned senses. This aria also induces a deep understanding of the place of this recital in Anna Netrebko’s career. The soprano has reached a major point in her career, where the voice has blossomed so much that it allows her, at least on record, to tackle roles as diverse as Dido by Purcell, Butterfly by Puccini and Isolde by Wagner. . The impact and widening are impressive without the intrusion of too overwhelming vibrato. More Manon and Adriana Lecouvreur than Butterfly, Netrebko gives a memorable impact to the tunes of Queen of spades and D’Aida. In Wagner, the aria of Elisabeth (Tannhäuser) suits him better than Elsa (Lohengrin), Isolde showing that the problem is, in German, to fold the word to the voice and to the sound. But it had to be done, it’s very well done, with luxury support.
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