The program opened with a dramatic rendition of the overture to Verdi’s La forza del destino. New to LA Opera, Bignamini’s interpretation included rough, loud chords at the opening followed by smooth legato playing in the overture’s more melodic sections. He drew a great variety of musical color from the ensemble and their sound often reminded me of multicolored Neapolitan ice cream. Thus, he notified California opera lovers that his interpretations are distinctive and architecturally strong.
Ms. Netrebko and Mr. Eyvazev opened with the ecstatic duet that ends Act I of Verdi’s Otello, “Gi‡ nella notte densa.” (“Now in the dark night”) The tenor had actually appeared at the Dorothy Chandler Pavilion once before, singing the last performance of Pagliacci in the 2015-2016 season. Although not yet well known in the United States, Mr. Eyvazov, a pupil of Franco Corelli, is amassing fans wherever he sings. He has excellent stage presence and a full array of the skills most desired in a dramatic tenor. Ms. Netrebko was no stranger to the Pavilion audience, since she had already sung leading roles in Lucia di Lammermoor, Romeo and Juliette, and Manon at LA Opera. With the music from Otello, Ms. Netrebko and Mr. Eyvazov gave a delightful foretaste of what might some day be a good vehicle for both of them.
Maestro Bignami continued with the overture to Verdi’s early opera, Attila, and Ms. Netrebko began her interpretation of Lady Macbeth. Walking across the stage clad in blood red silk, she showed the predatory nature of her character’s personality as she read Macbeth’s letter. She sang a rousing rendition of the Act I aria, “Vieni t’affretta!” (“ Come, hurry!”) with it’s dramatic coloratura cabaletta “Or tutti sorgete.” (“All of you spirits rise up”) It is unusual for one singer to be able to contend with both the dramatic and florid aspects of the role of Lady Macbeth, but Netrebko handled each with ease.
Mr. Eyvazov countered with another blockbuster: “Ah si ben mio” (“Yes, my love”) and its exciting cabaletta “Di quella pira” (“From this pyre”) from Il Trovatore, which he topped off with a perfectly placed high C. The artists completed the first half of the concert with two selections from Verdi’s 1859 work, Un ballo in maschera: the prelude to Act II and the duet, “Teco io sto” (“I stand with you”). Verdi gave the harp a prominent part in this opera and JoAnn Turovsky played the music from Ballo with glistening silver tones. Ms. Netrebko and Mr. Eyvazov sang Amelia and Riccardo’s love duet with the red hot passion of irresistible attraction.
After the intermission, Mr. Eyvazov offered a complete change of pace with a memorable rendition of “Tu che m’hai preso il cuor” better known as Franz Lehar’s “Dein ist mein ganzes Hertz” (“Yours is my heart alone”) from Das Land des L‰chelns. It took a bit of getting used to in Italian, but that melody still went straight to listeners’ hearts. Mo. Bignamini continued with the equally melodic Intermezzo from Macagni’s Cavalleria Ruticana.
Some of the less often performed operas by nineteenth and early twentieth century composers contain great arias. These artists presented memorable performances of arias from Cilea’s Adriana Lecouvreur, Catalani’s La Wally, and Puccini’s Manon Lescaut. I think many people will want to hear these exquisite pieces again. The finale, the verismo duet of the soon to be guillotined lovers from Giordano’s Andrea Chenier brought thunderous applause from the far reaches of the house.
These singers not only gave of themselves during the planned concert, they continued to be generous with encores. First, Ms. Netrebko sang a sweet and innocent version of Puccini’s “O mio babbino caro” (“Dearest daddy”) from Gianni Schicchi, then Mr. Eyvazov sang a full-blooded rendition of “Nessun’dorma” (“None shall sleep”) from the same composer’s Turandot. Together they sang the drinking song, “Libiamo” from Verdi’s La traviata before ending the evening with “Cantami” (“Let’s sing”) by distinguished contemporary Russian composer Igor Krutoy.
Maria Nockin
Musical Selections
Part One (Selections by Giuseppe Verdi)
Overture to La Forza del Destino
“Gi‡ nella notte densa” from Otello
Anna Netrebko, Yusif Eyvazov
Overture to Attila
“Vieni t’affretta!… Or tutti sorgete” from
Macbeth
Anna Netrebko
“Ah, sÏ ben mio… Di quella pira” from Il
Trovatore
Yusif Eyvazov
Act II prelude from Un Ballo in Maschera
“Teco io sto” from Un Ballo in Maschera
Anna Netrebko, Yusif Eyvazov
Part Two
“Tu che m’hai preso il cuor” from Das Land des
L‰chelns (Franz Lehar)
Anna Netrebko, Yusif Eyvazov
Intermezzo from Cavalleria Rusticana (Pietro
Mascagni)
“Poveri fiori” from Adriana Lecouvreur
(Francesco Cilea)
Anna Netrebko
“L’anima ho stanca” from Adriana
Lecouvreur (Francesco Cilea)
Yusif Eyvazov
“Ebben! Ne andrÚ lontana” from La Wally (Alfredo
Catalani)
Anna Netrebko
“Un dÏ all’azzurro spazio” from Andrea
ChÈnier (Umberto Giordano)
Yusif Eyvazov
Intermezzo from Manon Lescaut (Giacomo Puccini)
“Vicino a te” from Andrea ChÈnier (Umberto
Giordano)
Anna Netrebko, Yusif Eyvazov
Encores
“O mio babbino caro” from Gianni Schicchi (Giacomo
Puccini)
Anna Netrebko
“Nessun dorma” from Turandot (Giacomo Puccini)
Yusif Eyvazov
“Libiamo ne’ lieti calici” from La Traviata (Giuseppe
Verdi)
Anna Netrebko, Yusif Eyvazov
“Cantami” (Igor Krutoy)
Anna Netrebko, Yusif Eyvazov
image=http://www.operatoday.com/Netrebko_Eyvazev.png
image_description=Anna Netrebko & Yusif Eyvazov
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product_title=Concert Introduces Fine Dramatic Tenor
product_by=A review by Maria Nockin
product_id=Above: Anna Netrebko & Yusif Eyvazov