“Anna Netrebko is the doomed Mimi and tenor Rolando Villazon is her lover Rudolpho, who tries to end their relationship and encourage her to see a wealthier man because he can’t afford to take care of her and he’s afraid she’ll die.”

Read the full La Boheme short but capacious review from William Schoell’s “Great Old Movies”.

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Watch the interview: La Boheme: Interview with Anna Netrebko

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The cast has already been announced:

Joseph Calleja (title role),
David Asch (La Harpe),
Ekaterina Gubanova (Giulietta),
Alan Held (Four Villains),
Kathleen Kim (Olympia),
Kate Lindsey (Nicklausse/The Muse),
Anna Netrebko (Antonia),
Alan Oke (Four Servants),
Dean Peterson (Luther/Crespel),
Rodell Rosel (Nathanaël),
Mark Schowalter (Spalanzani/Schlémil),
Michael Todd Simpson (Hermann),
Wendy White (Antonia’s Mother).

The matinee performance on December 19 will be transmitted worldwide as part of The Met: Live in HD series.

More information at www.metopera.org.

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Her Violetta was boldly and warmly sung, with a whole-heartedness that distinguishes her from the more costive Angela Gheorghiu (whose voice is more purely beautiful).

The curtain call said it all. Others would emerge looking drained, distrait and lost in the tragedy of the role, but Netrebko bounced out all smiles and waves, looking ready to start all over again.

The full article here.

Listen to the “Parigi o Cara” duet Anna Netrebko and Jonas Kaufmann from Verdi’s La Traviata at The Royal Opera House:

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“Her “Traviata” at Salzburg two years ago was such a hot ticket that scalpers were reportedly charging $7,000 a seat, and her records regularly top the charts in Europe. In the summer of 2006 she was part of a concert in Berlin that filled a stadium.”

“In August, when I had lunch with her in Vienna, where she also has an apartment, she turned up wearing purple pumps (which matched her eye shadow), a bright orange duster and the shortest miniskirt I’ve seen anywhere except on Carnaby Street in 1969.”

Read the article here.

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Some excerpts from the article:

“Then she won the Glinka singing competition, auditioned for the part of Barbarina in The Marriage of Figaro and got the rather bigger part of Susanna. That was in 1994, at an age when most British singers are barely out of nappies.”

“Last year I got a big depression, I wanted to give up singing, nothing was making me happy.”

“In real life she’s taller than she seemed on that stage — a testimony to how vulnerably well she played the part — and I remember vividly the combination of stage presence and startlingly large, beautiful, rounded voice coming out.”

“….you can’t sing after dancing all night. I’m getting old! And I can’t afford cracked notes at Covent Garden.”

To read the full article, click here.

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There are rules to good singing, and they may be the only rules Netrebko respects. She not only ignores the protocols of the opera world, on the road, she ignores the seat belt laws of California.

It’s no wonder Netrebko’s always maxed out on her credit cards. She told Simon that she paid $1,200 for a pair of jeans with holes in the knees. “This is the style,” she says.

To read the article and watch the video, click on its title.

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Anna came to San Francisco to sing Violetta in Verdi’s La Traviata. Her 9-month-old son, Tiago, came with her.

To read the article, click on its title above.

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