Opera Arias

The french arias are also somewhat problematic. The aria from Benvenuto Cellini, arguably a bit of a signature role for her, doesn't work that well, and her Manon lacks humour and wit, and a touch of elegance. She doesn't really get behind the words, and has some funny pronunciations. The high D's in the Gavotte
also sounds uncomfortable.

Then we move to happier times. For me, she seems to connect to the two belcanto composers much better than the pieces that went before. Her Lucia scene perhaps lacks the ultimate degree of word painting and the sense of impending doom, but
it is extremely well sung, and the cabaletta well executed, although I didn't agree with her choices a few ornamental decisions. Her concluding high note is slightly better than on the Manon track, but those don't seem to be her "money-notes", as it were. They are more comfortable than the ones Angela Gheorghiu makes on her bel canto disc, but still...

The Sonnambula scene is, for me, almost a complete success. She sings well, manages to create a character in the process, and the florid work is done with grace and elegance, an element sometimes missing in the other arias. Again, the concluding accuto (E flat?) is done well enough, but not extremely comfortable. All in all I would say this is the best aria on the disc.

The Marguerite aria is given with a little bit of recitative, and she sings it well, with a strong high C at the end, although the tempi chosen for the aria are most peculiar. The conductor slows down considerably at the end, where
others go faster. I guess this could work as a hightening of Marguerite's dream-like state at seeing herself in the mirror, but I'm still not sure if I like it. Have to give it a few more listenings I guess. What almost disqualifies the presence of this aria is her lack of a good trill. If any aria needs it, it's this one, and Netrebko doesn't deliber the goods.

The Rusalka aria. Why, o why, if you've got the Vienna Philharmonic at your disposal, do you choose to omit the superb harp intro to this beautiful piece? It considerably mars the sense of momentum for me, since it really sets the dreamy mood. She sings well, although with less refulgence than a Fleming can
bring to it. A bit anonymously, though. Again, strong high note at the end, although she could have held on to it a bit longer...

The Musetta aria is a charming, if slightly puzzling, way to close the disc. Why not choose another belcanto piece? She sings it charmingly enough, with a degree of humour, and gets behind the character more than I've heard her do on other
items on the disc, but I would much rather have heard her in something earlier ottocento Italian. I think, for instance, that "Oh quante volte" from Bellini's I Capuletti ed i Montecchi would have been a perfect fit for her voice.

So, in conclusion; a rather gorgeous voice (with looks to match), with a distinct, but pleasant, Slavic quality to it, with a deal of maturing to do artistically. Could ascend
to greatness if she learns how to identify a bit more with her roles. And either chooses her repertoire to suit her gifts and apparent flaws (uncomfortable high notes, lack of trill), or do some more training in this department.