Oct 102011
 
On

“It’s like noth­ing I’ve ever done before! You’re prac­tic­ally shout­ing in the lower register for half the opera. [Don­iz­etti] wants that nasty, chesty voice — he wants it to sound uncomfortable!”

“It’s ask­ing so much of the nerves, the body, the emo­tion. There’s so much hatred! I never thought I could be so angry.”

On “Manca solo a com­pire il delitto” when she sings B-flat below middle C

“It’s too much! Too hard on my voice at that point,” she exclaimed.

On mezzo-soprano Gio­vanna (Jane Seymour)

“She is my friend, and she has betrayed me. Sud­denly I hate her! But it’s a beau­ti­ful hatred.”

On smil­ing dur­ing her applause

“Oh, you saw it? I shouldn’t do that? I was just smil­ing to the maes­tro (con­ductor Marco Armil­i­ato). My way of say­ing, ‘We did it!’”

and Armiliato’s comment?

“We had our little moment. Actu­ally, I found it cute. I mean, she’s a great diva, a super­star — but don’t for­get, she’s human!”

via The Republic

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  • wp socializer sprite mask 16px Anna Netrebko talks after the opening of Anna Bolena: Theres so much hatred!
  • wp socializer sprite mask 16px Anna Netrebko talks after the opening of Anna Bolena: Theres so much hatred!
  • wp socializer sprite mask 16px Anna Netrebko talks after the opening of Anna Bolena: Theres so much hatred!
  • wp socializer sprite mask 16px Anna Netrebko talks after the opening of Anna Bolena: Theres so much hatred!
  • wp socializer sprite mask 16px Anna Netrebko talks after the opening of Anna Bolena: Theres so much hatred!
  • wp socializer sprite mask 16px Anna Netrebko talks after the opening of Anna Bolena: Theres so much hatred!
  • wp socializer sprite mask 16px Anna Netrebko talks after the opening of Anna Bolena: Theres so much hatred!
  • wp socializer sprite mask 16px Anna Netrebko talks after the opening of Anna Bolena: Theres so much hatred!
Feb 022011
 

Daily Express critic Wil­liam Hart­ston feared the worst as the theatre lights dimmed:

WHEN a cinema screen lowered over the stage at the Coli­seum at the start of this new pro­duc­tion of Donizetti’s rarely per­formed opera about wicked 15th cen­tury Itali­ans, I thought, “Here we go again”.

The has a rather dodgy recent his­tory of ask­ing noted stage or film dir­ect­ors to have a go at opera and the res­ults have all too often fallen some­where on a scale between dis­ap­point­ing and dis­astrous. The nuns, Hitlers and Elvis look-alikes in Rupert Goold’s Tur­an­dot last year, and the crack­ling giant toy train track and Irish jig­ging sop­rano in Rufus Norris’s recent Don Gio­vanni stick in the memory as examples of dir­ect­orial self-indulgence inter­fer­ing with great music.… [con­tinue reading]

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Jan 082011
 

New ground will be made in the increas­ingly com­pet­it­ive field of opera and cinema when the ’s new pro­duc­tion of Donizetti’s Lucrezia Bor­gia is beamed out live in 3D, it was announced yesterday.

300px London coliseum1 English National Opera and Sky to produce first live 3D opera
Image via Wiki­pe­dia

The is col­lab­or­at­ing with Sky Arts on some­thing of a broad­cast­ing first. On 23 Feb­ru­ary those people with a 3D TV will be able to watch the opera live on Sky 3D while those without will be able to see it live in 3D at about 15–20 cinemas.

The broad­cast will pip the 3D – but not live – cine­matic release of the House’s pro­duc­tion of Car­men on 5 March, revealed in the last month.

The move in to 3D by the UK’s lead­ing opera houses reflects the run­away suc­cess of opera at the pic­tures which was pion­eered by the Met in New York.… [con­tinue reading]

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