On Wednesday, in “O patria mia,” Aida’s wrenching Act III aria, Ms. This distinguishes her Verdi and Puccini singing from the typical throbbing Italianate approach. Her voice also retains aspects of the slightly cool, focused tone characteristic of the Russian style she was raised in. Yet in plaintive passages, the melting warmth of her tone and the supple way she shaped long lines held you in thrall. Select hardwood and Birch Plywood box loaded with custom desi. This cabinet comes loaded with custom designed Eminence speakers. Marks attention to detail is evident in his impeccable tolex work. Netrebko sent phrases slicing through the brassy orchestra and into the house. The best compliment to the Tone King Metropolitan Head amp is this custom designed speaker enclosure. In climactic outbursts, when she summoned all her smoldering power, Ms. Yet there are still elements of the bloom and sweetness from her days as a lyric. Netrebko’s voice abounds in richness, depth and dusky colorings. She claimed that touchstone part for her own. All this came through in her great Act I aria, “Ritorna vincitor,” when Aida, having lent her voice to the throngs of Egyptians wishing Radamès success in battle, is left alone to confront the bitterness of her dilemma: To pray for his safety is to curse her countrymen.Īt this stage of her career, Ms. Last spring at the Metropolitan Opera, the soprano Anna Netrebko took on the title role of Puccini’s Tosca for the first time. Netrebko seemed at once a young woman, in helpless love with the enemy, and a captive princess, indignant and agonized over what to do to help her people. This Aida proved yet again that she knows what she is doing.
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Netrebko, who started off as a lyric soprano, has been more of a surprise as she’s moved into challenging bel canto repertory and weightier and more dramatic roles. Boutique amp brand Tone King is coveted by legions of players the world over - and it's very expensive. Her performances at the Met in recent years in “Carmen” ( her 2011 debut), “Il Trovatore” and “Prince Igor” made her potential in this repertoire clear. At one point, during a trio at the end of Act II, the tenor suffered a vocal crisis and almost resorted to falsetto. Rachvelishvili was an outstanding Amneris was no shock. On Monday, Yannick Nzet-Sguin, the Metropolitan Opera’s music director designate, conducted a magnificent performance of Wagner’s Parsifal.
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