Sempre Libera

Editorial Reviews

Barnes & Noble - EJ Johnson
Anna Netrebko's debut CD sent critics scrambling for superlatives to describe that impressive solo effort from opera's brightest new star, and Sempre Libera, the Russian soprano's follow-up showcase for her heart-meltingly lovely voice, should be just as enthusiastically received. It includes excerpts from two Verdi operas, Otello and La Traviata, but the greater focus is on the bel canto repertoire that is such a natural fit with the singer's light-lyric timbre and that has encouraged comparison with legends like Callas and Sutherland. Scenes drawn from Bellini's La Sonnambula and I Puritani and Donizetti's Lucia di Lammermoor operas, save for I Puritani, that she has ...
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Editorial Reviews

Barnes & Noble - EJ Johnson
Anna Netrebko's debut CD sent critics scrambling for superlatives to describe that impressive solo effort from opera's brightest new star, and Sempre Libera, the Russian soprano's follow-up showcase for her heart-meltingly lovely voice, should be just as enthusiastically received. It includes excerpts from two Verdi operas, Otello and La Traviata, but the greater focus is on the bel canto repertoire that is such a natural fit with the singer's light-lyric timbre and that has encouraged comparison with legends like Callas and Sutherland. Scenes drawn from Bellini's La Sonnambula and I Puritani and Donizetti's Lucia di Lammermoor operas, save for I Puritani, that she has performed onstage display the fresh, liquid tone that is her greatest gift, coupled with sure coloratura and a natural sense of phrase. The Mad Scene from Lucia also boasts the glass harmonica that Donizetti originally intended, a part usually covered by flute. With Verdi, Netrebko delves into the composer's more sharply etched characters with more of an eye for drama. In Violetta's first-act scene from Traviata again, music that fortunate opera-goers have seen Netbreko perform, a relatively relaxed "Forse lui" gives way to a somewhat hard-driven "Sempre libera," underscoring Violetta's firm strength of character. Netrebko crowns the scene with a luminous high E-flat, one of several glowing top notes on the disc. And in Desdemona's last-act scene from Otello, she delivers the delicate "Willow" Song and "Ave Maria" with a tender beauty that is deeply affecting. The encore, Puccini's familiar "O mio babbino caro," is another crowd pleaser in the vein of Musetta's Waltz, which brought Netrebko's debut disc to an upbeat close. Claudio Abbado and the Chamber Orchestra of Europe are the accompanists of a singer's dreams.
New York Times - Anthony Tommasini
[Netrebko's] voice is meltingly beautiful, with its creamy legato and luminous sound, tinged by a plaintive quality that never disappears, even in cheerful music.
Gramophone - Alan Blyth
In this ambitious programme, Anna Netrebko saves her very best for the last -- and the best -- music. Her account of Desdemona's Act 3 scena has just about everything one could want -- lovely tone, keen line, expressive, finely honed phrasing and a deep involvement with the role that she doesn't always evince elsewhere.
The New Yorker - Alex Ross
Netrebko has lost none of the radiance that she displayed in her first appearances. If anything, her voice is more lustrous and more substantial than before -- the lower range darker and richer, the high notes brilliant if not totally secure, the legato phrases luxuriously long.... She sails through the music without apparent effort, navigating these arias as if they were a calm Aegean bay. What depths there are come from Claudio Abbado, conducting the Mahler Chamber Orchestra; few recitals have an accompaniment so voluptuously nuanced.
Atlanta Journal Constitution - Pierre Ruhe
The best arias here are terrific: bel canto gems from Bellini's La sonnambula and I puritani and Donizetti's Lucia di Lammermoor. She sings in lambent and precise tones, with a twinkling, feminine edge that makes the characters complex and intriguing. [Grade: A-]
Classic FM Magazine - Warwick Thompson
[A] stunning collection of arias. Here is insightful, intelligent singing, beautifully phrased and impressively controlled – and what a voice!

In this ambitious programme, Anna Netrebko saves her very best for the last -- and the best -- music. Her account of Desdemona's Act 3 scena has just about everything one could want -- lovely tone, keen line, expressive, finely honed phrasing and a deep involvement with the role that she doesn't always evince elsewhere.
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Product Details

  • Release Date: 8/10/2004
  • Label: Deutsche Grammophon
  • UPC: 028947480020
  • Catalog Number: 000299902
  • Sales rank: 90,338

Album Credits

Performance Credits
Anna Netrebko Primary Artist, Soprano (Vocal)
Claudio Abbado Conductor
Saimir Pirgu Tenor (Vocal)
Giuseppe Verdi Symphony Chorus of Milan Choir, Chorus
Sara Mingardo Mezzo-Soprano (Vocal)
Mahler Chamber Orchestra Performing Ensemble, Ensemble
Romano Gandolfi Choir Master
Nicola Ulivieri Brass Baritone
Andrea Concetti Bass (Vocal)
Sascha Reckert Glass Harmonica
Verdi Chorus Milan Ensemble
Technical Credits
Arrigo Boito Librettist
Clive Arrowsmith Cover Photo
Fred Munzmaier Art Direction
Stewart Spencer Liner Note Translation
Wolf-Dieter Karwatky Engineer
Francesco Maria Piave Librettist
Salvatore Cammarano Librettist
Thomas Voigt Liner Notes
Felice Romani Librettist
Christopher Alder Producer
Giovacchino Forzano Librettist
Carlo Pepoli (Count) Librettist
Dagmar Birwe Engineer
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Sort by: Showing all of 2 Customer Reviews
  • Posted October 1, 2010

    more from this reviewer

    I Also Recommend:

    Disappointing!

    I bought Miss Netrebko 1st Cd and, I was so delighted with my purchase.
    The voice was fresh,communicative and passionate.
    The album was as told by the artist was chosen as her debut.Instead of Russian material.She was coached by the legendary Renata Scotto.
    A very wise decision on her part.
    I Bought the Sempre Libera Cd and was very excited to listen to it.
    I was hugely disappointed by the choice of material she had chosen for this disc and what was even more of a disappointment was the voice.
    The voice has become much to dark,muddy and far back in the throat!
    The pitch, scales,trills and runs were a vocal mess in some of the pieces showcased on the disc..
    She needs to stop over singing and think wisely on the material she will sing now and in the future.
    Otherwise she will not last much longer sad to say.
    This Artist is very beautiful.
    She has a face like a model and a voice that any upcoming singer would wish for.
    A young woman with a voice that can be a force to reckon with..
    I can only hope this Artist gets herself together and go back to her former glory and soon..A singer's life is a very short one..

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  • Anonymous

    Posted October 1, 2010

    My jaw dropped!

    Anna Netrebko is the new diva of opera! Her last album was amazing and this one is even better. She is a master of the Bel Canto technique! You must buy this album right away!

    Was this review helpful? Yes  No   Report this review
Sort by: Showing all of 2 Customer Reviews