Royal Opera
7th April 2009
I do wonder, I confess, occasionally, whether those great singers, famed for their most illustrious, and prodigious, of talents, are, in truth, as significantly endowed, as that with which, we credit them. Anna Netrebko, undoubtedly, has an abundance, of musical gifts, which she has demonstrated, repeatedly, in such roles of challenge, including Donna Anna and Gilda. Yet, every artist, no matter how much enamoured with ability, has limits, and we should, perhaps, not expect unalloyed brilliance, in every role, that is attempted, by any one singer.
Anna Netrebko, I felt, in my heart, and this is, of course, merely my thoughts and views, was not so entirely meritous, as Giulietta, as in other roles. And this, as I have said, is completely understandable, and reasonable. Yet, she consistently, receives the highest, of praise, so it has occurred to me that, perhaps, there is a slight possibility, that certain performers are lauded, simply, because of who they are, and that this relates, less, to their current performances, than to their reputation. Perhaps, I am experiencing, a moment, of the most extreme insanity, but I could not help feeling, that, despite an irridessance of tone, and an admirable (if not perfected) agility, in coloratura, there was, perhaps, a superficiality, in her interpretation. A bright, shining, surface, yet little of substance, beneath. Anna, is, of course, not a trained actress, so, perhaps, I should not be so critical. I do feel, indeed, cruel, in being so critical. But this is the feeling, that burns brightly, in my heart, and I would be lying, to my true self, if I did not, project it.
Romeo, was sung by a mezzo, Elina Garanca. She had not, in her entirety, complete success, but this, I believe, is the fault of the composer, Vincenzo Bellini, who chose, that one of the greatest male lovers, in all romantic literature, be portrayed, by a female. Elina, did contrive, to offer, an essence of masculinity, but her voice – her exceedingly beauteous voice – was, unmistakeably, that of a lady.
It is, in truth, to be wondered, why Giulietta, would even consider, the overtures of Romeo, when Tebaldo, is so touchingly in love, and undeniably, far more manly. Dario Schmunck, sang winningly, beguilingly, in this role, and any girl, who refuses him, is either, Sapphic, or insane, although, considering Romeo’s issues of gender, sapphism, does sound absolutely possible.
Eric Owens, associated more, I believe, with comedy, than with roles of such seriousness as this, sang Capellio, Giulietta’s father. His bass voice, had deep richness, of tone, and so did that, of Giovanni Battista Parodi, who displayed great sumptuosity, as Lorenzo, a role, of minimal importance, who became, suddenly, a character, of likeability.
Violetta
primi-divi at hotmail.co.uk