Opera Arias

Berlioz · Bellini · Donizetti
Dvorák · Gounod · Massenet
Mozart · Puccini
Anna Netrebko · Elina Garanca
Wiener Philharmoniker
Gianandrea Noseda
Int. Release 01 Sep. 2003
1 CD
0289 474 2402 4

Track List

Wolfgang Amadeus Mozart (1756 - 1791)
Idomeneo, re di Creta, K.366

Act 1

Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda, David Aronson

Don Giovanni, K. 527

Act 2

Hector Berlioz (1803 - 1869)
Benvenuto Cellini, H.76

Act 1

Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda

Jules Massenet (1842 - 1912)

Act 3

Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda, Wiener Staatsopernchor

Gaetano Donizetti (1797 - 1848)
Lucia di Lammermoor

Act 1

Anna Netrebko, Elina Garanca, Wiener Philharmoniker, Gianandrea Noseda

Vincenzo Bellini (1801 - 1835)
La Sonnambula

Act 1

Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda, Wiener Staatsopernchor

Charles Gounod (1818 - 1893)
Faust, CG 4

Act 3

Antonín Dvo?ák (1841 - 1904)
Rusalka, Op.114, B. 203

Act 1

Giacomo Puccini (1858 - 1924)
La Bohème

Concert Version

Act 1

Anna Netrebko, Wiener Philharmoniker, Gianandrea Noseda

Total Playing Time 1:02:59

Singing, acting, stage presence -- Anna Netrebko possesses all the qualities to make her the perfect opera singer . . . Anna Netrebko's new CD is no compromise either . . . it showcases her strength and her musical passions.

. . . destined to be as big as the legendary Maria Callas.

Anna Netrebko, 32, possesses the holy trinity of opera talents: she's a great singer, a great actress, and a great presence . . . she inspired love and lust while striking a balance between vocal fireworks and feeling.

partly translated in French:
Elle inspire l'amour et le désir, tout en trouvant en équilibre entre la virtuosité vocale et le sentiment.

Anna Netrebko, the biggest sensation to hit the opera world in years . . . Her first solo CD has now been released, and she is set to become a household name . . .

Anna Netrebko, la plus grande sensation dans le monde de l'opéra depuis des années. [...] Son premier CD est maintenant sorti, et tout le monde connaîtra bientôt son nom.

Album of the Fortnight... Russian lyric soprano Anna Netrebko captures the ear immediately on her Deutsche Grammophon debut solo album with a dramatic account of Padre, Germani from Mozart's Idomeneo. The Vienna Philharmonic and the impressive young Italian conductor Gianandrea Noseda support her work here and throughout this attractive anthology of opera arias. The disc's French repertoire, especially Berlioz and Massenet, show Netrebko's voice at its best.

Practice saying this name, because it will be on everyone's lips -- everyone who loves opera, that is. ... Her first recital disc shows that her voice has ripened beautifully and that she has the temperament -- and the technique -- for more demanding stuff. Two words: Look out.

... what the microphones capture on DG 472 240-2 is a voice full of promise. Its colour is already individual: dark, with silver gleams. The ease and steadiness of delivery is remarkable, whether the number be a bel canto stunner (Bellini's "Come per me sereno) or Musetta's waltz from "La bohème.

Classical CD of the week ... Here she presents herself as a lyric coloratura soprano destined for Sutherland's French and Italian repertoire: her new calling card, Donna in "Don Giovanni", is represented with a brilliant-toned 'Non mi dir'... It is the French repertoire ... and bel canto extracts ... that will excite most interest here. Even if her French and Italian are not entirely idiomatic, she has every weapon in the technical armoury to sing these very different roles. DG has launched Netrebko in style, with luxury accompaniment from the Vienna Phil.

partly translated in French:
CD classique de la semaine [...]. Elle se présente ici comme une soprano lyrique colorature destinée au répertoire italien et français de Sutherland [...]. Elle a toutes les armes de la panoplie technique pour chanter ces rôles très différents.

Her voice has a rich, dark-hued Russian power and a technique of great agility and lightness. The combination is irresistable . . .

Anna Netrebko is one of the new stars in the soprano firmament, an alumna of that great training ground for operatic talent at Valeri Gergiev's Mariinsky Theatre in St. Petersburg. Hers is a remarkable voice -- full, firmly pitched, golden with an almost mezzo colouring and with ringing top notes too -- and is also infused with genuine dramatic qualities.

Hers is an instrument that quite literally illuminates any music she chooses to sing . . . Just be forewarned: Netrebko can be habit-forming.

French translation:
Voici une voix qui éclaire littéralement toute musique qu'elle choisit de chanter [...]. Il faut être prévenu : Netrebko peut créer une accoutumance.

In other recording news, we have new recital discs from the Russian soprano Anna Netrebko and the Czech mezzo Magdalena Kozená, charmers with whom opera lovers in this country will wish to become better acquainted.

This debut aria disc by the young Russian soprano . . . confirms all the promise of her stage performances.

This debut aria disc by the young Russian soprano . . . confirms all the promise of her stage performances. Unlike so many singers, who have come out of the Kirov Opera, Netrebko has a voice built for the long run. Her voice has . . . a richness of tone that's unusual among those who have the vocal agility to sing "Lucia di Lammermoor" . . . the potential heard throughout this disc of Mozart, Massenet, Bellini and Dvorák is staggering.

The Real Deal: Anna Netrebko's new CD is a triumphantly Fach-defying mix of chestnuts and rarities.

Le nouveau CD d'Anna Netrebko est un mélange qui défie les classements, avec à la fois des classiques et des raretés.

. . . pearly tone and line-spinning musicality . . .

This first solo recital, conducted by an old colleague from the Kirov, Gianandrea Noseda, makes a fine portrait of a lovely singer . . . Certainly she has made a good selection. Everything suits the voice, including Donna Anna's 'Non mi dir' . . . In Bellini and Donizetti she shows the primary strength of drawing a firm, even melodic line, and when she rises above the stave it is without that tendency to hardening and shrillness which has so often beset Italian sopranos . . . The recitative in "Idomeneo" promises well, the phrases expressively handled, the emotional development vividly enacted; ... here is one of the best of the younger generation, faithfully recorded and notably well accompanied by the VPO under Noseda.

Ce premier récital en solo, dirigé par un ancien collègue du Kirov, Gianandrea Noseda, peint un beau portrait d'une ravissante cantatrice [...]. Elle a incontestablement fait un bon choix. Tout convient à sa voix, y compris le « Non mi dir » de Donna Anna. [...] Dans Bellini et Donizetti, elle montre la force primordiale d'une ligne mélodique solide, régulière, bien dessinée, et lorsqu'elle monte au-dessus de la portée c'est sans cette tendance à la dureté et à la stridence qui a si souvent handicapé les sopranos italiennes [...]. Le récitatif dans Idomeneo est prometteur, les phrases sont rendues avec expressivité, et le développement émotionnel est traduit de manière vivante ; [...] c'est ici l'une des meilleures chanteuses de la jeune génération, fidèlement enregistrée et remarquablement bien accompagnée par le Philharmonique de Vienne sous la direction de Noseda.

A breath of fresh air, this recital ... This is the best debut disc for a lyric soprano extending comfortably to the D or E-flat above the stave, evenly produced, and with a lambent timbre that does not grow dim in mezza voce. She commands a good trill and a more than adequate fluency in coloratura. More important, she has temperament, evident musical sensibility and the instincts of a communicator. The music is delivered with rare grace ... no histrionics, no girlish shrieks, just fine singing. Nothing could be sexier!

Her voice is powerful yet pure and precise. Her breath control and phrasing are excellent . . . Netrebko's beautiful, Slavic vocal quality makes the Dvorák aria the highlight.

Her first solo disc for DG provides ample evidence that the lavish advance publicity on this singer is far from empty hype. The Russian soprano possesses a lustrous lyric voice, rich of tone, and remarkably even throughout all registers. She is also admirably attentive to the words, and her opera appearances clearly aren't hurt by her fashion-model looks either . . . Netrebko shows impressive versatility in this wide-ranging program . . . The equally fast-rising young Italian conductor Gianandrea Noseda draws fiery, richly layered playing from the Vienna Philharmonic. Anna Netrebko is surely one of the most gifted of today's young singers, and an artist we will be hearing much more from in the near future.

Netrebko is a radiant and exciting singer. The young soprano . . . tackles a magnificent bunch of arias on her first solo recital disc.

Throughout the recital, Netrebko's pure sound with its dark tinge is a pleasure in itself. Everywhere, the freshness of tone is vivid, unsullied. To it is added a flexibility that enables her to bring lustre to all these cabalettas . . .

Tout au long du récital, la sonorité pure de Netrebko, avec ses teintes sombres, est un plaisir en soi. Partout, la fraîcheur du timbre est éclatante, immaculée. À quoi s'ajoute une flexibilité qui lui permet de donner du lustre à toutes ces cabalettes . . .

Any doubts (mine included) as to her suitability for the part may be laid to rest by the way she infuses her basically light timbre with sufficient tonal body, and by the accuracy and flexibility is a strong-willed and ambitious young woman who prefers operatic roles "with a little danger"... This is a suberbly gifted artist with a capacity to grow and mature. Based on her Met appearance, which I witnessed, her lyric sound carries well into the auditorium.

The slight edge in her creamy voice is just perfect for this music . . .

. . . the soprano Anna Netrebko is a strong stage presence, always alert to the implications of the text, and with a powerful top to the voice . . .

This compilation CD, from the Russian diva Anna Netrebko, will delight opera aficionados and newcomers alike, and will consequently be a big seller. Hardcore fans cannot fail to be impressed by the beauty and unforced power of Netrebko's voice . . .

. . . kein Wunder, dass die russische Sopranistin seit mehr als einem Jahr nicht nur die deutsche Klassikbranche aufrollt, sondern live auch Maßstäbe setzt.

Dunkles Soprangold, von innen heraus leuchtend, in der Höhe strahlend, beredt formulierend.

Die CD ist, für klassische Verhältnisse, ein absoluter Superseller. Anna Netrebko hat sich damit nicht nur in die Herzen, sondern auch in die Pop-Charts gesungen.

Ihr Sopran kommt auf dieser Début-Compact-Disc sehr gut zur Geltung... die Stimme sitzt perfekt "in der Maske", ist auf den Punkt fokussiert, eine brillante Höhe, gute Agilität.

Enorme Ausstrahlung, Bühnen-Leidenscheft und ein fulminantes Sopran-Organ ... Die junge Dame aus St. Petersburg ist auch mit ihrer Debüt-CD der Star der Saison.

French translation:
Un éclat exceptionnel, un sens passionné du théâtre et une éblouissante voix de soprano [...]. La jeune dame de Saint-Pétersbourg est la star de la saison avec son premier CD.

Als Donna Anna hat sie in Salzburg Furore gemacht, ihre erste Solo-CD zeigt Anna Netrebko sozusagen auf dem Weg...

. . . Anna Netrebko [hat] eine fest fokussierte Stimme mit guter Tragkraft und sicherer Koloratur . . . Die ungewöhnliche Begabung ist unbestreitbar und teilt sich über die CD mit.

Mit gerade erst 31 Jahren katapultierte sich die stimmlich wie von der persönlichen Ausstrahlung her äußerst attraktive und vielversprechende Sängerin binnen Jahresfrist in die Top-Charts der Klassik-Szene . . . Die leicht dunkel gefärbte, dabei aber nicht typisch slawisch timbrierte Stimme, besticht durch die Persönlichkeit des Ausdrucks, beispielhafte Musikalität und hervorragende Verblendung der Register. Aus dem Stand gelingen ihr kleine, in sich geschlossene Interpretationen fernab der gängigen sterilen Potpourris namhafter Bravurarien . . . Für Jules Massenets Manon, die Juwelenarie der Marguerite aus Charles Gounods "Faust" und auch die selten zu hörende Arie der Teresa ("Les belles fleurs") aus Héctor Berlioz' "Benvenuto Cellini" bringt sie mit graziös-agiler Stimmführung, subtilen Piani und schönem Legato gleichwohl ideale stimmliche Voraussetzungen mit . . . Die verführerisch verteilten Appetithäppchen (Walzer der Musetta aus Giacomo Puccinis "La Bohème"!) machen mehr als Lust auf anspruchsvolle Mehrgänge-Menüs.

Vom Fleck weg schön - Anna Netrebkos vielseitiges Arien-Debüt. ... Auf ihrem ersten Recital mit einem weit gespannten Repertoire erlebt der Hörer einen Sopran mit der kehligen Mezzofärbung slawischer Stimmen, die das Herz wärmt.

...sehr gut

. . . ihre Stimme . . . hat eine ganz eigene Farbe, eine besondere Ausstrahlung - wie sie all die großen Diven von der Callas bis zur Bartoli auszeichnet.

French translation:
Sa voix [...] a sa couleur propre, un rayonnement particulier - comme celle de toutes les grandes divas, de Callas à Bartoli.

Seit Anna Netrebko ins Blickfeld der Klassik-Welt geriet, sind neue Ideale angesagt. Doch nicht nur Klangfülle und Intonationssicherheit sind der Kick der russischen Sängerin. Ihre wahre Innovation besteht darin, dass sie den Abstand zwischen dem Sexappeal von Pop und Klassik . . . so deutlich verringern kann . . . Mit Anna Netrebko hat die Optik in der Klassik einen neuen Stellenwert erhalten. Sie ist das singende Supermodel der Revolution . . . «Anna Netrebko. The Woman. The Voice» . . . bietet nichts anderes als die MTV-gerechte Bebilderung von fünf Arien der bekannten CD. Und betritt dennoch Neuland. Ein kleiner Schritt für Netrebko, aber ein grosser für die Welt hehrer Kunst-Ideale und rüschiger Abendkleider. . . Fest steht, dass sich der Imagewechsel, den die neue Netrebko-DVD vollzieht, nicht mehr im Sande verlaufen wird.

Ever since Anna Netrebko took the classical music world by storm, new ideals are the order of the day. But not only fullness of tone and secure intonation are the Russian singer's thing. Her true innovation lies in an ability to shrink the sex appeal gap between pop and classical. With Anna Netrebko the visual element has taken on a new importance in classical music. She's the singing supermodel of this revolution . . . Anna Netrebko: The Woman - the Voice . . . is nothing more or less than an MTV-styled illustration of five arias from her popular CD, and yet it breaks new ground. A small step for Netrebko, but a giant step for the world of noble artistic ideals and swanky evening dress . . . One thing is certain: the image makeover created by the new Netrebko DVD is here to stay.

Depuis qu'Anna Netrebko a pris d'assaut le monde de la musique classique, de nouveaux idéaux se sont imposés. La plénitude du timbre et l'intonation sûre ne sont pas les seules qualités de la chanteuse russe. Sa véritable innovation tient à sa capacité à réduire le fossé de séduction entre la pop et le classique. Avec Anna Netrebko, l'élément visuel prend une importance nouvelle dans la musique classique. Elle est le modèle de cette révolution dans le domaine vocal [...]. Anna Netrebko : The Woman - The Voice [...] n'est ni plus ni moins qu'une illustration dans le style MTV de cinq airs de son célèbre CD, et pourtant elle y ouvre de nouvelles voies. Un petit pas pour Netrebko, mais un pas de géant pour le monde des nobles idéaux classiques et des luxueuses robes du soir [...]. Une chose est sûre : la transformation visuelle opérée par le nouveau DVD de Netrebko est là pour de bon.

De considérables moyens servent un timbre brillant, insolent, sinon percutant.

Her considerable technique is at the service of a brilliant timbre, insinuating, even powerful.

... el disco, felizmente dirigido por Gianandrea Noseda al frente de una orquesta como la de los filarmónicos vieneses dúctil, detallista y con un cálido sonido bien amalgamado por todos sus intérpretes.

Netrebko posee una voz de una belleza exceptional.
    A Little Danger - Anna Netrebko

Many singers are reluctant to admit in interviews that a role could be less than wonderful – every work of every composer, they would have you believe, must be equally rewarding and worthwhile. So it is refreshing to encounter Anna Netrebko, the young Russian soprano, and her candid, unvarnished opinions on what distinguishes the parts she chooses from the ones she rejects. Although Netrebko’s brilliant, persuasive singing has earned her widespread critical acclaim and a growing army of admirers, it isn’t the music alone that she considers before taking on a role: the character must have bite and color, breadth and depth. “It has to be something with meat. That’s what I like. For example, Zerlina I hate. My worst role. It is hard for me to find something there. I cannot be the cute little peasant. It does not work for me. I like something with a little danger.”

It isn’t surprising that Netrebko has such a strong point of view, for her career has been marked by daring from the very beginning. Born in Krasnodar, in southern Russia, she was a 20-year-old student at the St. Petersburg Conservatory when the Kirov Opera’s Valery Gergiev discovered her – scrubbing floors in the Mariinsky Theater. That job allowed her to attend and absorb everything she could from the company’s rehearsals and performances. After a couple of years, she auditioned for Gergiev, singing the Queen of Night’s daredevil arias from Die Zauberflöte. To her astonishment, he accepted her on the spot.

Their first collaboration was Glinka’s Ruslan and Lyudmila, first at the Kirov and then, crucially, at San Francisco Opera, where Netrebko enjoyed a success that surprised everyone – especially herself – since she was then only 23. Under the guidance of San Francisco Opera’s general director, Lotfi Mansouri, she stayed on as a member of its famous training academy, the Merola Program, in which she essayed a number of leading leggero roles.

Her successful Metropolitan Opera début came in 2002 as Natasha in Prokofiev’s War and Peace. Netrebko, however, does not consider herself a particularly persuasive champion of Russian opera. Her principal interest lies in the great French and Italian roles suited to her voice, and the selection of arias on this début solo recording – her first under a long-term exclusive contract with Deutsche Grammophon – provides a generous sampling of the types of parts she likes best. Included are two prime bel canto arias, Amina’s “Care compagne ... Come per me sereno” from Bellini’s La sonnambula and “Ancor non giunse! ... Regnava nel silenzio” from Donizetti’s Lucia di Lammermoor. The exultation of Amina’s aria and the Gothic chill of Lucia’s provide a striking study in contrast.

By the mid-20th century, bel canto roles had become the province of piping, fresh-voiced sopranos such as Lily Pons and Patrice Munsel. But a change began in the 1950s and ’60s with potent singing actresses like Maria Callas, Beverly Sills, and Renata Scotto also bringing out the score’s raw dramatic elements. Pretty sounds or pointed expression? No doubt Bellini and Donizetti wanted both, and Netrebko’s objective is to arrive at the perfect combination of Lucia light and dark. To that end she has spent much of the past year coaching the repertory extensively with Scotto, who she says “helps me a lot to do the different phrases, the colors. I am very thankful to her.”

Also included in this collection are samples of two Mozart roles: Ilia’s “Padre, germani, addio!” from Idomeneo, and Donna Anna’s “Non mi dir” from Don Giovanni. Netrebko has performed both on stage. The latter was an enormous personal success for her at the 2002 Salzburg Festival, conducted by Nikolaus Harnoncourt. “When I was first asked to sing this, I was surprised,” she says. “Usually people expect big voices in the role – even Jane Eaglen sang it. I thought, ‘Oh, no. I cannot.’ But when I went to the audition and Harnoncourt listened to me sing a few bars, he said, ‘OK, let’s work.’ It was not that difficult for me, after all. Just right for my voice.”

In the beginning, Netrebko heard the warning often levelled at lyric sopranos: “Only Mozart. Nothing else. But if I sing only this light stuff, I will never develop. I don’t like it when conductors ask me to sing lighter. I hate that. If I am trying to sing lighter than I have to, I am singing badly, and nothing can help me.” That conviction guided her in choosing the other arias for this recording.

Despite its abundance of luxurious melody, Massenet’s Manon has long been one of the most challenging roles in the lyric soprano repertory. It is difficult to make Manon as coquettish and cunning as she needs to be without sacrificing audience sympathy. Here, in the Cours-la-Reine scene from Act III, with its jaunty Gavotte, Netrebko seems ideally suited to the role’s demands for a fresh, youthful timbre, precise command of fioriture, and playful, sensuous rhythms.

A complex combination of guile and innocence is also part of what makes Marguerite in Gounod’s Faust a rewarding role. It is represented on this recording by the famous aria “Les grands seigneurs ont seuls des airs ... Ah! je ris de me voir (‘Jewel Song’),” which requires a soprano with a good trill and an elastic rhythmic sense for its elaborate runs. The role is a particular favorite of Netrebko, who sees Marguerite not as a limp victim but as someone too quick to yield to her own passion and greed.

Netrebko has yet to undertake Dvořák’s Rusalka onstage, but this role – the water nymph yearning to be mortal – is another one that strongly appeals to her. When effectively sung, the phrases of intense longing in Rusalka’s radiant “Song to the Moon,” the opera’s most famous number, seem almost literally to radiate into the night air. For Netrebko, it is a study in smoldering passion.

Nor has she yet performed any of the Berlioz operas, but the role of Teresa in Benvenuto Cellini, torn between family and suitor in the first-act aria included here, is one that especially intrigues her.

If one had to name the most consistently oversung, overplayed role in the soprano repertory, it might well be Musetta in La bohème, but for Netrebko the role seems almost naturally well suited: a woman of unstinting drive and determination to get her own way. Here she offers Musetta’s famous waltz, “Quando men vo.”

Anna Netrebko doesn’t hesitate to admit her preference for opera to the recital stage. “I like lights and costumes. I like to play with my partners,” she says, adding with a malicious laugh, “Sometimes too much!” Already she is thinking ahead to her next recording, a collection of opera scenes also featuring other performers. “Who would listen to a second CD of me only?” she laughs. “It would be so boring!” But the gleam in her eye assures you that she really doesn’t think so.

Brian Kellow
Brian Kellow is the features editor of
Opera News and the author of Can’t Help Singing: The Life of Eileen Farrell (1999).

    Anna Netrebko - A Biographical Timetable

1971 Born in Krasnodar, in the south of Russia; receives her vocal training at the St. Petersburg Conservatory, where she appears as Susanna in Le nozze di Figaro and Violetta in La traviata
1993 First prize-winner of the Glinka Vocal Competition in Moscow, where she takes part in a concert dedicated to the opening of the Irina Arkhipova Foundation at the Bolshoi Theater; joins the Kirov company at the Mariinsky Theater in St. Peters-burg, to which she still belongs
1994 Makes her debut at the Mariinsky Theater as Susanna in Le nozze di Figaro, a role she repeats in Kirov/Mariinsky tours to Finland, Germany, and Israel; some of her other important roles with the company include Lucia in Lucia di Lammer-moor, Amina in La sonnambula, Rosina in Il barbiere di Siviglia, Pamina in Die Zauberflöte, Micaëla in Carmen, and Louisa in Prokofiev’s Betrothal in a Monastery
1995 Graduates from St. Petersburg Conservatory; sensational US début as Lyudmila in Glinka’s Ruslan and Lyudmila at the San Francisco Opera, where she becomes a frequent guest
1996 Prize-winner at the International Rimsky-Korsakov Vocal Competition, St. Petersburg; makes BBC début (also telecast) with Gergiev and the Rotterdam Philharmonic Orchestra
1997 Wins the Baltika prize for young opera singers (St. Petersburg)
1998 Sings Susanna at the San Francisco Opera House and gives her first recital (including songs by Mussorgsky, Rimsky-Korsakov, and Rachmaninov)
1999 Washington Opera début as Gilda in Verdi’s Rigoletto; concert performances of Berlioz’s Benvenuto Cellini under Gergiev in Rotterdam, Amsterdam, and London
2000 Sings in works by Bach (B minor Mass) and Handel Judas Maccabaeus) at the Maggio Musicale in Florence; new successes in San Francisco as Zerlina in Don Giovanni and Musetta in La bohème; acclaimed as Natasha in Prokofiev’s War and Peace under Gergiev at the Mariinsky Theater and at Covent Garden; Donizetti’s Lucia and Antonia in Les Contes d’Hoffmann at the Mariinsky Theater
2000/01Ilia (Idomeneo), Adina (L’elisir d’amore), Nannetta (Falstaff), Marfa (The Tsar’s Bride), and Zerlina (Don Giovanni); further triumphs in the role of Natasha in War and Peace at La Scala, Milan, and Madrid’s Teatro Real
2001/02 Sings Natasha in War and Peace in her Metropolitan début and her first Donna Anna in her début with the Salzburg Festival in the season-opening new production of Don Giovanni, conducted by Nikolaus Harnoncourt; Giulietta in I Capuleti e i Montecchi in her Philadelphia début; Lucia for Kirov Opera at St. Petersburg’s Mariinsky Theater; at the Verbier Festival she sings in a performance of Mahler’s Fourth Symphony under James Levine
2002/03Appears as Servilia in Mozart’s La clemenza di Tito under Sir Colin Davis at Covent Garden; Mozart’s Ilia in Washington and Zerlina at the Metropolitan; makes her Vienna State Opera début in La traviata; at the Mariinsky she sings Natasha and Violetta, and participates in a gala concert in May for the 300th anniversary of St. Petersburg
2003 Summer engagements include her Bavarian State Opera début as Violetta, appearances at the Verbier Festival, and a return to the Salzburg Festival as Donna Anna

    Gianandrea Noseda

Gianandrea Noseda was born in 1964 in Milan, where he began his musical studies in piano, composition, and conducting. He later studied conducting in Vienna and in Italy with Donato Renzetti, Myung-Whun Chung, and Valery Gergiev. In 1994 he won the international com-petitions in Douai (chaired by Georges Prêtre) and Cadaqués (chaired by Gennadi Rozhdestvensky).

Since making his professional conducting début in 1994 with the Orchestra Sinfonica di Milano Giuseppe Verdi, Noseda has appeared with orchestras such as the BBC Symphony, City of Birmingham Symphony, Chamber Orchestra of Europe, Swedish Radio Symphony, Gothenburg Symphony, Oslo Philharmonic, St. Petersburg Philharmonic, Vienna Chamber, Tokyo Symphony, and Toronto Symphony, as well as the Orchestre du Capitole de Toulouse, the Ensemble Orchestral de Paris, and the Orchestre National de France, in addition to the New York Philharmonic and the Cincinnati Symphony in US. In Italy, he appears regularly with the Orchestra Sinfonica Nazionale della RAI, Orchestra of the Maggio Musicale Fiorentino, and Orchestra of the Accademia Nazionale di Santa Cecilia.

In 1997, at the invitation of Valery Gergiev, Noseda became the first foreign principal guest conductor at the Mariinsky Theater in St. Petersburg, where he also helped set up the Mariinsky Young Philharmonic Orchestra and serves as its principal conductor. He has conducted the Kirov Opera – both on tour and in St. Petersburg – in new productions of Rigoletto, Tosca, Le nozze di Figaro, La traviata, La sonnambula, Don Carlo, Don Giovanni, Lucia di Lammermoor, Les Contes d’Hoffmann, La bohème, Così fan tutte, and Il trittico by Puccini. With the Kirov Ballet, he has conducted new productions of Sleeping Beauty and Balanchine’s Jewels.

In 1998 Noseda made his début at the San Francisco Opera House with Prokofiev’s Betrothal in a Monastery. He conducted Prokofiev’s War and Peace at his Covent Garden and Teatro alla Scala débuts in 2000, and at his Metropolitan début in 2002. In 2001 he made his Los Angeles Opera début conducting Tchaikovsky’s Queen of Spades, with Plácido Domingo in the leading role.

Noseda was appointed principal conductor of the Orquesta de Cadaqués in 1998. Between 1999 and 2003 he has also been principal guest conductor of the Rotterdam Philharmonic Orchestra. Since 2000 he is artistic director of the International Festival Settimane Musicali di Stresa e del Lago Maggiore, since September 2002 principal conductor of the BBC Philharmonic in Manchester, and since 2003 the principal guest conductor of the Orchestra Sinfonica Nazionale della RAI.