Anna Netrebko, Dvorak - Song to the moon - Rusalka
Netrebko was born in Krasnodar (Russia), in a family of Kuban Cossack background. While a student at the Saint Petersburg conservatoire, Netrebko worked as a janitor at Saint Petersburg's Mariinsky Theatre. Later, she auditioned for the Mariinsky Theatre, where conductor Valery Gergiev recognized her from her prior work in the theater. He subsequently became her vocal mentor. Under Gergiev's guidance, Netrebko made her operatic stage debut at the Mariinsky at age 22, as Susanna in Le nozze di Figaro. She went on to sing many prominent roles with the Kirov Opera, including Amina in La sonnambula, Pamina in Die Zauberflöte, Rosina in Il Barbiere di Siviglia, and Lucia in Lucia di Lammermoor.
In 1994, she sang the Queen of the Night in Die Zauberflöte with the Riga Independent Opera Avangarda Akadēmija under conductor David Milnes.
In March 2006, Netrebko applied to become an Austrian citizen, receiving her citizenship in late July. According to an interview in the Austrian weekly news, she will live in Vienna and Salzburg. Netrebko cites the cumbersome and humiliating process of obtaining visas (as a Russian citizen) for her many performances abroad as the main reason for obtaining Austrian citizenship. Netrebko does not speak German.
In March 2007, Netrebko announced that she would be an ambassador for SOS Children's Village in Austria, and be a sponsor for the Tomilino village in Russia.
In 1995, at the age of 24, Netrebko made her American debut as Lyudmila in Glinka's Ruslan and Lyudmila at the San Francisco Opera. Following this successful performance, she became a frequent guest singer in San Francisco. She is known as an acclaimed interpreter of other Russian operatic roles, such as Natasha in Prokofiev's War and Peace, Louisa in Betrothal in a Monastery and Marfa in The Tsar's Bride. Netrebko has also made successful forays into bel canto and romantic roles such as Gilda in Rigoletto, Mimi in La bohème, Giulietta in Bellini's I Capuleti e i Montecchi, and Elvira in I puritani.
In 2002, Netrebko made her debut at the Metropolitan Opera as Natasha in the Met premiere of War and Peace. In the same year, she sang her first Donna Anna at the Salzburg Festival's production of Don Giovanni, conducted by Nikolaus Harnoncourt. She also performed at the Russian Children's Welfare Society's major fund raiser, the "Petroushka Ball". She returned to the Ball in 2003 and 2006 and is an honorary director of the charity.
In 2003, Netrebko performed as Violetta in Verdi's La traviata in Munich, the title role in Lucia di Lammermoor at the Los Angeles Opera, and Donna Anna at the Royal Opera House, Covent Garden. Her second album, Sempre Libera, was released the following year. She later appeared as Violetta Valéry in La traviata at the Salzburg Festival, conducted by Carlo Rizzi and in 2008 she performed the same role at Covent Garden to triumphant acclaim on the opening night, opposite Jonas Kaufmann and Dmitri Hvorostovsky in performances conducted by Maurizio Benini. However, she cancelled three subsequent performances due to suffering a bronchial condition. This was the second time she had cancelled her performances at the Royal Opera House, having withdrawn from some performances of Don Giovanni the previous summer due to illness.
In 2004, Netrebko was a minor cast member, playing herself, in Royal Engagement (a sequel to 2001's The Princess Diaries), where she sang "Sempre Libera" from Verdi's La traviata.
On 30 May 2007, Netrebko made her Carnegie Hall debut with Dmitri Hvorostovsky and the Orchestra of St. Luke's. Originally scheduled for 2 March 2006, Netrebko postponed the recital because she did not feel artistically ready.
Netrebko appeared at the Last Night of the Proms on 8 September 2007 where she performed "Ah! Se una volta ... Ah! Non credea mirarti ... Ah! Non giunge" from La sonnambula, "Meine Lippen, sie küssen so heiß" (Giuditta) and the song "Morgen!" by Richard Strauss (with violinist Joshua Bell). In the fall of 2007 she reprised her role as Juliette in Roméo et Juliette at the Metropolitan Opera. In December 2007, Netrebko performed for Martin Scorsese, a 2007 Honoree, at the Kennedy Center Honors, and in May 2008 she made a much-awaited debut at the Paris Opera in I Capuleti e i Montecchi, with Joyce DiDonato as her Romeo.
In her first performance after her maternity leave, Netrebko sang Lucia in Lucia di Lammermoor when it opened at the Mariinsky Theatre in Saint Petersburg on 14 January 2009, in a production from the Scottish Opera led by John Doyle. She then sang the same role in January and February 2009 at the Metropolitan Opera. Netrebko appeared as Giulietta in I Capuleti e i Montecchi at the Royal Opera House in Spring 2009, and as Violetta in La traviata in June 2009 at the San Francisco Opera. On 13 November 2010 in a matinee performance broadcast nationally by PBS, she sang the role of Norina in Don Pasquale at New York's Metropolitan Opera House under conductor James Levine. On 2 April 2011, she sang the title role of Gaetano Donizetti's Anna Bolena at the Vienna State Opera for a sold-out premiere there, and the repeat performance on 5 April 2011 was broadcast live to cinemas around the world. On 7 December 2011 she opened the new season at La Scala in Milan as Donna Anna in Don Giovanni.
She has the distinction of being invited to appear in three consecutive opening night new productions at the Metropolitan Opera: Anna Bolena in 2011, L'elisir d'amore in 2012, and Eugene Onegin, in 2013.
In September 2011, it was announced that Netrebko will be performing at either or both of the opening and closing ceremonies for the 2014 Winter Olympics in Sochi, Russia, near her native Krasnodar. She ended up performing the olympic anthem at the opening ceremony.
Desmarest：Grands Motets Lorrains / Daneman, Ockenden, Agnew, Slaars, Marzorati, Les Arts Florissants, Christie
1. Usquequo Domine
2. Lauda Jerusalem
3. Domine ne in furore
Composed by Henry Desmarets
Performed by Les Arts Florissants Orchestra & Chorus
Conducted by William Christie
How nice it is to make the acquaintance of a previously ignored composer who ranks with the best of his age, in this case, such French Baroque masters as Rameau, Couperin and Charpentier. These three motets, which span the emotional range from despair through exaltation, are well worth the attention of anyone who enjoys the music of the period. The only reason this doesn't merit five stars is that nothing else on the disc quite measures up the the exquisite pathos of the opening sections.
William Christie and his forces do their customary splendid job, including the five vocal soloists and the instrumental ensemble, whose flutist produces plangent notes to melt your heart.
William Lincoln Christie (born December 19, 1944 in Buffalo, New York) is an American-born French conductor and harpsichordist. He is a specialist in baroque repertoire and is the founder of the ensemble Les Arts Florissants.
Christie studied art history at Harvard University, where he was briefly assistant conductor of the Harvard Glee Club. From 1966, he began studies at Yale University in music, where he was a student of harpsichordist Ralph Kirkpatrick. He was opposed to the Vietnam War, and served in a reserve officers course to avoid the draft. He subsequently taught at Dartmouth College, but after his Dartmouth post was not renewed, Christie moved to France in 1971. He was one of a number of young men who left the United States at this time because of disagreement with the Vietnam War, and in order to avoid the draft. In France, he became known for his interpretations of Baroque music, particularly French Baroque music, working with René Jacobs and others. He also performed contemporary music alongside baroque music with the Ensemble Five Centuries.
In 1979, Christie founded Les Arts Florissants, named after the opera of the same name by Marc-Antoine Charpentier, which was to be its first fully staged production. Major recognition came in 1986 with the production of Lully's Atys at the Opéra-Comique in Paris. Christie has also presented and recorded works by André Campra, François Couperin, Claudio Monteverdi and Jean-Philippe Rameau.
Christie was a professor at the Paris Conservatoire from 1982 to 1995, and maintains an active role in pedagogy by participating in master classes and academies. In 2002, he founded Le Jardin des Voix, a biennial academy for young singers in Caen. Since 2007, he has had an affiliation with the Juilliard School, providing master classes in historical performance practice.
Christie has widened his group's core French repertoire, performing Henry Purcell, George Frideric Handel, and Wolfgang Amadeus Mozart. He has been guest conductor at the Glyndebourne Festival, and productions for Zurich Opera and the Opera de Lyon. He has also conducted period-instrument performances with more modern ensembles such as the Berlin Philharmonic.
Christie took French citizenship in 1995. He was appointed Grand Croix de la Légion d'honneur in 2014 and he is an Officier in the Ordre des Arts et des Lettres. He was elected a member of the French Académie des Beaux-Arts on November 12, 2008, in the "Unattached members" section (Membres libres), at the seat formerly held by Marcel Marceau, Seat #1. The elaborate gardens Christie designed for his house in Thiré were designated as a monument historique in 2006.
《里纳尔多Rinaldo》（共三幕）描述的是第一次十字军征战耶路撒冷时候的事情，十字军四大著名领袖之一的Godefroy de Bouillon(第一代十字军的耶路撒冷王)手下著名意大利骑士在围困耶路撒冷城所发生的故事。骑士里纳尔多与指挥官戈尔弗雷德(Goffredo)之女阿尔米莱纳(Almirena)相恋，戈尔弗雷德也答应在拿下城郭之后允诺他们的婚事。另一方，伊斯兰教和犹太教的守城指挥官阿尔冈特(Argante)迫于攻城压力的强大，阿尔冈特向十字军指挥官要求停战，并前往十字军的阵营交涉(第一幕第三场)，这时候阿尔冈特唱了一首著名的咏叹调“Sibillar gli angui”。事实上已经是山穷水尽的地步，然而却用了相当凯旋巴洛克气氛的音乐作为背景，浑厚的男低音也是这个剧作中唯一底气强劲的角色，这一点来说巴洛克作品的趣味性相当浓厚的。戈尔弗雷德用了一首著名的咏叹调“No,no,che quest'alma”加以严词拒绝。阿尔冈特决定向自己的恋人，大马士革的妖女阿尔米达请求帮助……，也就在这个节骨眼上，妖女阿尔米达带着电闪雷鸣，以一曲女高音的咏叹调“furie terribili”出场了。
阿尔冈特向妖女阿尔米达(Armida)提出了帮助的要求，阿尔米达也畅快的答应了给与阿尔冈特帮助。他们两人都提到了要以此来保护亚细亚的河山，这就是女高音咏叹调“molto voglio”(第一幕第五场)。说老实话作为东方人多少有一些为这两个反面角色而心动呢……。阿尔米莱娜上场的一段“Augelletti che cantata”也是一首著名的女高音咏叹调，特别是序奏的那段鸟语和竖笛、乐队的曲子都是相当优美的。随后的一段里纳尔多、阿尔米莱娜的二重唱“Scherzano sul tuo volto”。里纳尔多这个角色在亨德尔时代都是有阉人歌手(Castralto)来担任的，歌手的音域应该是两个八度的alto音域，后来阉人歌手消失后，一般都用“高男高音”(countertenor)替代。所以这是一个高男高音与女高音的爱情二重唱咏叹调，相当优美且著名。Rene Jacobs的这个演出中，用了次女高音(Mezzosoprano)来担任的，这样的话，这个著名的爱情咏叹调二重唱就成了女高音与次女高音的二重唱了。阿尔米达向阿尔米莱娜施妖法，并捕获了阿尔米莱娜。愤怒的里纳尔多因恋人被敌方捕获而愤怒激昂(第一幕第七场)。此时里纳尔多唱了一首思念恋人的咏叹调“cor ingrate”，在低音弦乐器、拨弦古钢琴构成的通奏低音背景上显得相当动人。戈尔弗雷德的弟弟尤斯塔基奥(Eustazio)也是一位基督教的妖法师，表示愿意帮助戈尔弗雷德和里纳尔多找回阿尔米莱娜。
阿尔米莱娜被拘捕在阿尔冈特的城内，内心烦乱。此时阿尔冈特遇到了阿尔米莱娜，顿时升起了爱恋的心思，此时唱出一段男低音的咏叹调[basta che sol tu chieda](啊！美人呀，你绝非不幸)。这其中，阿尔米莱娜的一曲“Lascia ch'io pianga”(让我哭泣/任我的泪水流淌)]更是脍炙人口，也成为了一个著名的女高音咏叹调(第二幕第四场)。……阿尔米达再一次施放妖法，将里纳尔多抓获了。在妖女面前，里纳尔多坚持要求要么将阿尔米莱娜还给他，要么将自己和身上的佩剑一起埋葬……。妖女被里纳尔多的勇敢所感动，用妖法将自己变身为阿尔米莱娜，对里纳尔多诱惑，不曾想里纳尔多没有就范。这时候阿尔米达有一段咏叹调“ah, crudel”，表现内心里对里纳尔多的爱慕和对方没就范的恼怒等的复杂心情，也是一段戏剧性相当强烈、幅度大的唱段。……阿尔米达变身阿尔米莱娜的时候，却引来了阿尔冈特的误会，阿尔冈特见是阿尔米莱娜，便对其讨好、倾诉爱恋之情。这一下可惹恼了阿尔米达。阿尔冈特发觉是阿尔米达这才觉得不可收场了(第二幕第九场)。第二幕最后的一个咏叹调“Vo'far Guerra”就是阿尔米达表示那种发觉被恋人利用、出卖的心情的曲子。曲子中有三段拨弦古钢琴即兴独奏的段落，这也正是当年亨德尔在剧作首演的时候所加上去的披露键盘乐器独奏者演技的几个段落。