What makes Anna Netrebko more than just the next Russian soprano? Is it her as direct but not as quite so refined technique, her less restrained but much more effective interpretations, and her intensely expressive but always under control tone? Or is it her distinctively non-Russian vibrato -- leaner, cleaner, and with a much tighter focus but just as much power? One has to listen to Netrebko's Russian Album and judge for one's self. Listen to her tenderly touching Arioso from Tchaikovsky's Iolanta, her brilliantly ...
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What makes Anna Netrebko more than just the next Russian soprano? Is it her as direct but not as quite so refined technique, her less restrained but much more effective interpretations, and her intensely expressive but always under control tone? Or is it her distinctively non-Russian vibrato -- leaner, cleaner, and with a much tighter focus but just as much power? One has to listen to Netrebko's Russian Album and judge for one's self. Listen to her tenderly touching Arioso from Tchaikovsky's Iolanta, her brilliantly colorful arias from Rimsky-Korsakov's Snow Maiden, her passionately despairing songs from Rachmaninov's Russian years -- especially her inconsolable "Oh, Do Not Sing Me Those Sad Songs" -- and finally her utterly enchanting and deeply affecting "Letter Scene" from Eugene Onegin in which Tchaikovsky's Tatyana grows from a girl into a woman right before our ears. While in the past Netrebko has delivered terrific recordings -- her Violetta in La Traviata was absolutely riveting -- this disc...
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