Anna Netrebko is intoxicating as Adina in L’Elisir d’Amore, as I feel drunkened by the passions she elicits. She is extremely beautiful here, once again, and again her voice soars and seduces in perfect shape, form and clarity. And her expression, particularly in the slower arias, is a thing of such beauty worthy of riveted attention. She does here again what she does in all her roles. She takes the heroine, all of them seemingly familiar characters, and embodies them with deeper layers, sweet and delicate, bold and fiery, layers of her own perception and of her own unique making and expression.
Great Performances at the Met.
Season 7 opens with Gaetano Donizetti’s comic opera “L’Elisir d’Amore,” about a peasant (Matthew Polenzani) who wins the heart of a beautiful farm owner (Anna Netrebko) with the help of a love potion he purchased from a quack doctor (Ambrogio Maestri).
In this opera, L’Elisir d’Amore, Anna Netrebko takes Adina to a place of romance, of melancholy, and of hopeful love, all of this existing just below the surface of her wonderful and vibrantly delightful performance. A performance that, like a frothy mug of ale, runneth over with bubbly femininity and all the sophisticated and sexily teasing nuances that goes with it. It is these moments of delicately female touches that holds the sweetest glimpses of sensuality, though they may be the ones that seem to be the most light-hearted and innocent.
But such is the magnificence of Anna Netrebko. Such is the power and prowess of the feminine soul. And of the female heart. And Anna’s heart is a thing of immense grandeur, like grand opera itself, and her beautiful soul is filled with the glories of all of humanity, and with the passion of her very own beautiful self. Such a goddess is she. And one with the unending talent and infinite beauty worthy of a true goddess. A celestial unearthly woman, full of love and joy. A gift to the arts. And to all of humankind. Cheers, Anna.
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