Anna Netrebko appeared on Oct. 16 at the Bolshoi Theater in the musical show Manon Lescaut with her significant other, tenor Yusif Eyvazov. Before making a beeline for the U.S. for a progression of exhibitions at the Metropolitan Opera, the star discussed at long last performing at the Bolshoi, her most loved parts, family and natively constructed cutlets.
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Musical show, BOLSHOI THEATER, RBTH DAILY
Russian musical show vocalist Anna Netrebko
Russian musical show vocalist Anna Netrebko postures for cameras in Berlin, on Oct. 9 2016. Source: AFP/East News
Rossiyskaya Gazeta: It took 25 years of a fruitful worldwide profession for you to make a big appearance at the Bolshoi. Why did it take so long?
Anna Netrebko: I would prefer not to believe that the reason was some interest or maneuvers. It's presumably poor association, wrong planning. Quite a while back, 12 years prior, Vladimir Vasiliev welcomed me to sing La Traviata. In any case, around then, I was not prepared to sing Violetta at the Bolshoi, which I sincerely let him know then.
RG: Why did the decision fall on Manon Lescaut by Puccini – a triumphant musical show, yet a to a great degree hard one for a soprano?
A.N.: When Vladimir Urin [the Bolshoi's General Manager] and I considered what musical drama to stage, we thought to do one that had not yet been in the theater. That is the way the thought to organize Manon was conceived, to a limited extent.
RG: Will there be another execution of Manon Lescaut with you at the Bolshoi?
A.N.: I think, obviously, to come back to Moscow in a year or 18 months to sing it by and by, it will be less demanding. Albeit, to be honest, I would prefer not to sing this musical show a considerable measure.
RG: Why?
A.N.: This is an exceptionally troublesome musical show, grisly. It pulverizes all the body, beginning from the voice and completion with your genuine feelings of serenity. It can't be performed regularly. What's more, after five exhibitions in November at the Met organize in New York, I don't have it in my arrangements any longer.
Be that as it may, obviously, we will come and sing at the Bolshoi Theater, once the creation is as of now there, in spite of the fact that the acoustics were hard there, and it was hard to conform. Sound simply does not fly. It feels like you go up and sing into no place. When we first took to the Historic Stage, we encountered a genuine stun. In spite of the fact that I like the creation.
RG: Aren't you perplexed of Valery Gergiev's envy? You're still a soloist of the Mariinsky Theater ...
Ballet performer Diana Vishneva: 'Valery Gergiev let me separate my life in two'
Ballet performer Diana Vishneva: 'Valery Gergiev let me partition my life in two'
A.N.: Gergiev and I are great companions. What's more, he is very much aware that the Bolshoi Theater is a GRAND theater. On the off chance that the artists need to sing there and they are welcomed, they're singing. What's more, they perform at the Mariinsky Theater for the very same reasons. Truth be told, I have for quite some time been recorded in the theater just in absentia. I come once in a while, once in a season, or even in two.
RG: But will Mariinsky's most expected debut happen next summer, your execution in Adrienne Lecouvreur?
A.N.: Yes! The generation will be supported by our companion and altruist from Los Angeles, Robert Denzel. He cherishes verism, and he has been envisioning for no less than ten years that I sing Adrienne, and afterward, at last, I found the fearlessness.
RG: Why do you now and again pull back from exhibitions which have as of now been declared, for example, Faust by Gounod or Norma by Bellini?
A.N.: generally speaking, I sign gets quite a while before the occasion. Right then and there, I can't help suspecting that I'll appreciate either part, which I have not yet sung, following a few years, I will learn it with joy. Yet, the time comes, and I understand that I don't care for the part. In this way, regardless of all my yearning, neither Margarita nor particularly Norma fit me.
I didn't even once hear it out to the end. I don't care for it. Yet, I truly did not have any desire to let down Covent Garden or break my agreement with the Metropolitan. It was an exceptionally troublesome choice, yet I acknowledged it. Truly, in this, I was extraordinarily helped by the executive, from the minute when I saw his idea. It was the issue that crosses over into intolerability, and I won't.
RG: Could you settle on choices like these again later on?
A.N.: I attempt to be watchful in the decision of collection and contracts. Be that as it may, all things considered, I depend just on my instinct. And all that is sitting tight for me ahead, most importantly my new parts, I trust they are intriguing, and I want to adapt to them.
Practice of the Opera 'Il trovatore' by Giuseppe Verdi, execution of the German State Opera in the Schiller Theater in Berlin, Anna Netrebko as Leonora. Source: Getty Images
Practice of the Opera 'Il trovatore' by Giuseppe Verdi, execution of the German State Opera in the Schiller Theater in Berlin, Anna Netrebko as Leonora. Source: Getty Images
RG: Which ones, for instance?
A.N.: Now I am starting to take a shot at Aida. I am attempting it, we'll check whether it will it work or not. Despite everything I have a great deal of work to contribute. I will make a big appearance in this part at the Salzburg Festival in the mid year of 2017. It is exceptionally troublesome, Aida.
I have as of now listened to a ton of good and intriguing recordings. I found the brilliant aria Ritorna vincitor by Renata Tebaldi, which will be a model for me.
Also, obviously, a great recording with Maria Callas, a live one, I think, from Mexico. When she was still in her body. Say what you will, yet all weight reduction is finished hogwash! At the point when Callas started to get in shape, she started to lose her voice.
RG: Do you take after eating regimens?
A.N.: No! Never! I adore the majority of my additional 30 pounds, since Giuditta, who moved unshod in Baden-Baden.
I've been keeping my weight up for as far back as seven years, I cherish it. I won't offer it to anybody. This is the thing that props me up. This is my stamina, my quality, to have something to bolster my voice. Obviously, I'm discussing sensational parts, not a simple collection.
RG: Has the way that you have significantly changed your part, having gone from a light, practically soubrette collection to the most emotional parts, changed your character?
A.N.: No. When all is said in done, I got to be distinctly more quiet, whimsicalness with shenanigans and mimicry has gone. I am as of now 45 years of age, what amount right? I'm worn out on acting, of speaking to all what I am not any longer. I think that its a great deal all the more consoling and fascinating to work with enormous, genuine characters.
RG: With your genuine distinction as diva assoluta, when your investment transforms any musical show into a hit, do you have your sights set on the Russian collection?
Test: Which character would you say you are from 'Eugene Onegin'?
Test: Which character would you say you are from 'Eugene Onegin'?
A.N.: I have endured a ton with Tatiana in Eugene Onegin, until I could love her. By my tendency, I was and still am her direct inverse. In any case, I have a yearning to perform in The Queen of Spades. I like Liza, in spite of the fact that I'm not certain that my voice will fit her. In any case, it is a section that is fascinating to me, despite the fact that it is not most vital in the musical show, and not especially winning. I ought to work a ton at it also. In any case, I think, gradually, things can happen. I'm a performing artist, I can change myself, deleting my own identity.
RG: And what is your identity at home?
A.N.: At home, I am the mildest, calmest and most meek individual on the planet. Particularly as of late, after I wedded a brilliant man. The family at long last got a genuine man, I felt that the home has an ace, an establishment. I felt so great, I turned out to be so casual ... In addition, other than the way that Yusuf is my better half, he is additionally an extremely great tenor.
RG: Two vocalists in one family – is it troublesome?
A.N.: No. We don't do warm-up activities together. Each of us has their own time. I practice to begin with, then Yusif, or the other way around. We are exceptionally delicate of each other and obviously know when to offer time to practice to each other.
RG: And how could you commend your celebration on Sept. 18?
A.N.: Life starts at forty-five. This is not a celebration. A celebration is 60 or 75. We simply accumulated at home. I don't care for, truth be told, I detest occasions, for example, Netrebko and Friends...
I arranged delectable cutlets myself, prepared potatoes with rosemary, made sweet American serving of mixed greens, we requested dolma, kebab, and qutabs from a decent Azerbaijani eatery – it was exceptionally wonderful and generous.
Soprano Anna Netrebko perfoming at the Opera Gala in St Petersburg Conservatory's Opera House. Source: Vadim Zhernov/RIA Novosti
Soprano Anna Netrebko perfoming at the Opera Gala in St Petersburg Conservatory's Opera House. Source: Vadim Zhernov/RIA Novosti
RG: Where is your home today? In St. Petersburg, Vienna or New York?
A.N.: Probably, for the most part in Vienna. I am an inhabitant there. I pay imposes there. We consider New York our second home. Possibly, in a year or two, we will move Tisha [Tiago Arua, Netrebko's child – RBTH] to an Austrian school, and he will live and consider in Vienna, if just we locate a right, decent school. At that point we'll start to take in the German dialect truly as a family.
RG: What day is absolute best for you?
A.N.: When everyone allows me to sit unbothered and gives me a chance to live. When I do just what I need: remain at home, do the housework, be with my better half and tyke, go shopping or to an eatery. And this without being trailed by newspaper columnists.
RG: Has the current political circumstance on the planet had any effect on your vocation?
A.N.: No. In spite of the fact that the general political circumstance is not empowering. In any case, the theaters for sure stand firm for the specialists. The General Manager of the Metropolitan Opera in New York, Peter Gelb, is the first to intervene. For me, for Valery Gergiev, as well as for some others also. I trust workmanship ought to stay in place, isolate from any legislative issues.
RG: You sang the Olympic hymn at the opening of the Games in Sochi. What's more, might you want to perform in Moscow at the opening of the World Cup in 2018?
A.N.: Singing the Olympic hymn in
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Print page
RELATED
Tehran swings to Russia again as Trump gives occasion to feel qualms about U.S.- Iran relations
Putin chooses new economy serve
Shake day and night: A typical day for 100-year-old tickers
Labels
Musical show, BOLSHOI THEATER, RBTH DAILY
Russian musical show vocalist Anna Netrebko
Russian musical show vocalist Anna Netrebko postures for cameras in Berlin, on Oct. 9 2016. Source: AFP/East News
Rossiyskaya Gazeta: It took 25 years of a fruitful worldwide profession for you to make a big appearance at the Bolshoi. Why did it take so long?
Anna Netrebko: I would prefer not to believe that the reason was some interest or maneuvers. It's presumably poor association, wrong planning. Quite a while back, 12 years prior, Vladimir Vasiliev welcomed me to sing La Traviata. In any case, around then, I was not prepared to sing Violetta at the Bolshoi, which I sincerely let him know then.
RG: Why did the decision fall on Manon Lescaut by Puccini – a triumphant musical show, yet a to a great degree hard one for a soprano?
A.N.: When Vladimir Urin [the Bolshoi's General Manager] and I considered what musical drama to stage, we thought to do one that had not yet been in the theater. That is the way the thought to organize Manon was conceived, to a limited extent.
RG: Will there be another execution of Manon Lescaut with you at the Bolshoi?
A.N.: I think, obviously, to come back to Moscow in a year or 18 months to sing it by and by, it will be less demanding. Albeit, to be honest, I would prefer not to sing this musical show a considerable measure.
RG: Why?
A.N.: This is an exceptionally troublesome musical show, grisly. It pulverizes all the body, beginning from the voice and completion with your genuine feelings of serenity. It can't be performed regularly. What's more, after five exhibitions in November at the Met organize in New York, I don't have it in my arrangements any longer.
Be that as it may, obviously, we will come and sing at the Bolshoi Theater, once the creation is as of now there, in spite of the fact that the acoustics were hard there, and it was hard to conform. Sound simply does not fly. It feels like you go up and sing into no place. When we first took to the Historic Stage, we encountered a genuine stun. In spite of the fact that I like the creation.
RG: Aren't you perplexed of Valery Gergiev's envy? You're still a soloist of the Mariinsky Theater ...
Ballet performer Diana Vishneva: 'Valery Gergiev let me separate my life in two'
Ballet performer Diana Vishneva: 'Valery Gergiev let me partition my life in two'
A.N.: Gergiev and I are great companions. What's more, he is very much aware that the Bolshoi Theater is a GRAND theater. On the off chance that the artists need to sing there and they are welcomed, they're singing. What's more, they perform at the Mariinsky Theater for the very same reasons. Truth be told, I have for quite some time been recorded in the theater just in absentia. I come once in a while, once in a season, or even in two.
RG: But will Mariinsky's most expected debut happen next summer, your execution in Adrienne Lecouvreur?
A.N.: Yes! The generation will be supported by our companion and altruist from Los Angeles, Robert Denzel. He cherishes verism, and he has been envisioning for no less than ten years that I sing Adrienne, and afterward, at last, I found the fearlessness.
RG: Why do you now and again pull back from exhibitions which have as of now been declared, for example, Faust by Gounod or Norma by Bellini?
A.N.: generally speaking, I sign gets quite a while before the occasion. Right then and there, I can't help suspecting that I'll appreciate either part, which I have not yet sung, following a few years, I will learn it with joy. Yet, the time comes, and I understand that I don't care for the part. In this way, regardless of all my yearning, neither Margarita nor particularly Norma fit me.
I didn't even once hear it out to the end. I don't care for it. Yet, I truly did not have any desire to let down Covent Garden or break my agreement with the Metropolitan. It was an exceptionally troublesome choice, yet I acknowledged it. Truly, in this, I was extraordinarily helped by the executive, from the minute when I saw his idea. It was the issue that crosses over into intolerability, and I won't.
RG: Could you settle on choices like these again later on?
A.N.: I attempt to be watchful in the decision of collection and contracts. Be that as it may, all things considered, I depend just on my instinct. And all that is sitting tight for me ahead, most importantly my new parts, I trust they are intriguing, and I want to adapt to them.
Practice of the Opera 'Il trovatore' by Giuseppe Verdi, execution of the German State Opera in the Schiller Theater in Berlin, Anna Netrebko as Leonora. Source: Getty Images
Practice of the Opera 'Il trovatore' by Giuseppe Verdi, execution of the German State Opera in the Schiller Theater in Berlin, Anna Netrebko as Leonora. Source: Getty Images
RG: Which ones, for instance?
A.N.: Now I am starting to take a shot at Aida. I am attempting it, we'll check whether it will it work or not. Despite everything I have a great deal of work to contribute. I will make a big appearance in this part at the Salzburg Festival in the mid year of 2017. It is exceptionally troublesome, Aida.
I have as of now listened to a ton of good and intriguing recordings. I found the brilliant aria Ritorna vincitor by Renata Tebaldi, which will be a model for me.
Also, obviously, a great recording with Maria Callas, a live one, I think, from Mexico. When she was still in her body. Say what you will, yet all weight reduction is finished hogwash! At the point when Callas started to get in shape, she started to lose her voice.
RG: Do you take after eating regimens?
A.N.: No! Never! I adore the majority of my additional 30 pounds, since Giuditta, who moved unshod in Baden-Baden.
I've been keeping my weight up for as far back as seven years, I cherish it. I won't offer it to anybody. This is the thing that props me up. This is my stamina, my quality, to have something to bolster my voice. Obviously, I'm discussing sensational parts, not a simple collection.
RG: Has the way that you have significantly changed your part, having gone from a light, practically soubrette collection to the most emotional parts, changed your character?
A.N.: No. When all is said in done, I got to be distinctly more quiet, whimsicalness with shenanigans and mimicry has gone. I am as of now 45 years of age, what amount right? I'm worn out on acting, of speaking to all what I am not any longer. I think that its a great deal all the more consoling and fascinating to work with enormous, genuine characters.
RG: With your genuine distinction as diva assoluta, when your investment transforms any musical show into a hit, do you have your sights set on the Russian collection?
Test: Which character would you say you are from 'Eugene Onegin'?
Test: Which character would you say you are from 'Eugene Onegin'?
A.N.: I have endured a ton with Tatiana in Eugene Onegin, until I could love her. By my tendency, I was and still am her direct inverse. In any case, I have a yearning to perform in The Queen of Spades. I like Liza, in spite of the fact that I'm not certain that my voice will fit her. In any case, it is a section that is fascinating to me, despite the fact that it is not most vital in the musical show, and not especially winning. I ought to work a ton at it also. In any case, I think, gradually, things can happen. I'm a performing artist, I can change myself, deleting my own identity.
RG: And what is your identity at home?
A.N.: At home, I am the mildest, calmest and most meek individual on the planet. Particularly as of late, after I wedded a brilliant man. The family at long last got a genuine man, I felt that the home has an ace, an establishment. I felt so great, I turned out to be so casual ... In addition, other than the way that Yusuf is my better half, he is additionally an extremely great tenor.
RG: Two vocalists in one family – is it troublesome?
A.N.: No. We don't do warm-up activities together. Each of us has their own time. I practice to begin with, then Yusif, or the other way around. We are exceptionally delicate of each other and obviously know when to offer time to practice to each other.
RG: And how could you commend your celebration on Sept. 18?
A.N.: Life starts at forty-five. This is not a celebration. A celebration is 60 or 75. We simply accumulated at home. I don't care for, truth be told, I detest occasions, for example, Netrebko and Friends...
I arranged delectable cutlets myself, prepared potatoes with rosemary, made sweet American serving of mixed greens, we requested dolma, kebab, and qutabs from a decent Azerbaijani eatery – it was exceptionally wonderful and generous.
Soprano Anna Netrebko perfoming at the Opera Gala in St Petersburg Conservatory's Opera House. Source: Vadim Zhernov/RIA Novosti
Soprano Anna Netrebko perfoming at the Opera Gala in St Petersburg Conservatory's Opera House. Source: Vadim Zhernov/RIA Novosti
RG: Where is your home today? In St. Petersburg, Vienna or New York?
A.N.: Probably, for the most part in Vienna. I am an inhabitant there. I pay imposes there. We consider New York our second home. Possibly, in a year or two, we will move Tisha [Tiago Arua, Netrebko's child – RBTH] to an Austrian school, and he will live and consider in Vienna, if just we locate a right, decent school. At that point we'll start to take in the German dialect truly as a family.
RG: What day is absolute best for you?
A.N.: When everyone allows me to sit unbothered and gives me a chance to live. When I do just what I need: remain at home, do the housework, be with my better half and tyke, go shopping or to an eatery. And this without being trailed by newspaper columnists.
RG: Has the current political circumstance on the planet had any effect on your vocation?
A.N.: No. In spite of the fact that the general political circumstance is not empowering. In any case, the theaters for sure stand firm for the specialists. The General Manager of the Metropolitan Opera in New York, Peter Gelb, is the first to intervene. For me, for Valery Gergiev, as well as for some others also. I trust workmanship ought to stay in place, isolate from any legislative issues.
RG: You sang the Olympic hymn at the opening of the Games in Sochi. What's more, might you want to perform in Moscow at the opening of the World Cup in 2018?
A.N.: Singing the Olympic hymn in
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