About this Artist

• Biography

Editorial Reviews

With this album, Anna Netrebko turns to lighter selections than her standard fare: arias and ensembles from operettas, folk, and salon songs, and crowd-pleasing favorites. She gives this repertoire the same focus, interpretive eloquence, and vocal brilliance that she brings to more "serious" material. Netrebko is notable for the absolute purity and flawless intonation of her sound. Her voice is consistently full, rich, and creamy in these tasty confections, but there is enough stylistic variety that's it's never too much of a good thing. Netrebko brings real spirit to the contrasting sentiments of each of the selections, and she is simply a joy to listen to. "Heia, in den Bergen," from "Die Csárdásfürstin," which opens the album, is primally wild and unrestrainedly passionate. She floats and soars through "Depuis le jour," from "Louise," and sounds just overwhelmingly happy. The "Barcarolle" from "Les Contes d'Hoffmann," which she sings with Elina Garanca, has rarely sounded so rapturously languid. The pop-tinged "Pie Jesu" by Andrew Lloyd Webber sounds somewhat out of place in this collection, but Netrebko brings to it a melting loveliness, and her blend with boy soprano Andrew Swait is remarkable. Much credit for the album's high level of artistry goes to Emmanuel Villaume, a frequent collaborator with Netrebko, who conducts the Prague Philharmonia and Prague Philharmonic Choir with loving attention to detail and sensitivity to the variety of musical styles represented. Deutsche Grammophon's sound is immaculate, lively and present. Highly recommended for all fans of bel canto. Stephen Eddins, All Music Guide

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