- No. 3 Scena ed Aria: "È strano! è strano! - Ah, fors' è lui - Follie! D
- "Sempre libera"
- No. 12 Scena ed Aria finale: "Ah! se una volta sola rivederlo potessi"
- "Ah! Non credea mirarti"
- "Ah! Non giunge uman pensiero"
- No. 7 Scena ed Aria: "O rendetemi la speme - Qui la voce sua soave"
- "Ah! tu sorridi e asciughi il pianto!"
- "Vien, diletto, è in ciel la luna!"
- No. 14 Scena ed Aria: "O giusto cielo!" - "Il dolce suono"
- "Ohimè!...sorge il tremendo fantasma"
- "Ardon gli incensi"
- "Spargi d'amaro pianto"
- "Era più calmo?" - "Mia madre aveva una povera ancella"
- "Piangeo cantando nell'erma landa"
- "Ave Maria"
- "O mio babbino caro"
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.
Performance CreditsAnna 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
Romano Gandolfi Choir Master
Nicola Ulivieri Brass Baritone
Andrea Concetti Bass (Vocal)
Sascha Reckert Glass Harmonica
Verdi Chorus Milan Ensemble
Technical CreditsArrigo 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
Dagmar Birwe Engineer
Carlo Pepoli Librettist