安娜·奈瑞贝科 2014 萨尔茨堡音乐节蓝光现场 3BD 共 110G 百度网盘资源

# Anna Netrebko's Operatic Journey: A Review of Her Salzburg Trilogy

## The Early Days and Vocal Evolution
At the start of her Salzburg trilogy, Anna Netrebko was best known in the lyric coloratura bel canto repertoire. Her 2007 performance as Elvira in Bellini’s *I Puritani* at the Met was a high point in this genre. Young and slim, she made a strong impression in *La Traviata*, matching Villazón’s acting. As years passed, especially after pregnancy, her voice grew in size and color. By 2014, opera lovers awaited her Leonora in Verdi’s *La Forza del Destino*, after her 2013 Berlin performance of the same role in *Trovatore*. Her 2012 *La Bohème* Mimi was surpassed by her later work. Reports of her 2014 Lady Macbeth at the Met were also anticipated. As early as 2006, her voice was maturing as Susanna, but had its ups and downs, as seen in various performances.

## *La Traviata*: A Stark Staging
The Salzburg production of *La Traviata* by Willy Decker accentuates the story's starkness. The setting is mostly white, with splashes of color from Violetta's scarlet dress. The clock and its keeper add to the atmosphere. Netrebko as Violetta and Villazón as Alfredo bring strong acting and singing skills. Netrebko faces challenges but shows great vocal expressiveness, though the final scene could be better. Villazón's Alfredo is masterfully characterized. Carlo Rizzi's conducting suits the staging in parts but fails to fully convey the final emotions.

## *Le Nozze di Figaro*: A Divisive Production
In the 250th anniversary year of Mozart’s birth, the Salzburg Festival's *Le Nozze di Figaro* was a departure. Claus Guth's production added an Angel, distracting from the music and libretto. The count is portrayed as a nasty aristocrat, Figaro shines in his role, and Netrebko's Susanna has moments of strength but also lacks conviction. Dorothea Röschmann's Countess improves over time. Nicholas Harnoncourt's conducting and the overall production left the viewer frustrated.

## *La Bohème*: An Updated Vision
The updated *La Bohème* is a prime example of Regietheater opera. The sets are deconstructed and rebuilt in an unrecognizable setting. Netrebko's voice is ideal for Mimi, but Piotr Beczala's Rodolfo has vocal limitations. The other characters have their strengths and weaknesses. Danielle Gatti's conducting has variable tempi. The death scene of Mimi lacks the emotional impact it should have.

Overall, Netrebko's performances in this Salzburg trilogy showcase her vocal and acting evolution, while the productions themselves offer a range of experiences, from the stark and impactful to the frustratingly unfulfilling. #AnnaNetrebko #OperaReviews #SalzburgTrilogy

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