Verdi: La Traviata

Giuseppe Verdi (Composer), Carlo Rizzi (Conductor), Mozarteum Orchester (Orchestra), Salzburg Mozarteum Orchestra (Orchestra), Vienna Philharmonic Orchestra (Orchestra), Anna Netrebko (Performer), Diane Pilcher (Performer), Dritan Luca (Performer), Friedrich Springer (Performer), Helene Schneiderman (Performer), Herman Wallén (Performer), Luigi Roni (Performer), Paul Gay (Performer), Rolando Villazón (Performer), Salvatore Cordella (Performer), Thomas Hampson (Performer) | Format: Audio CD

Product Details

• Performer: Anna Netrebko, Diane Pilcher, Dritan Luca, Friedrich Springer, Helene Schneiderman, et al.
• Orchestra: Mozarteum Orchester, Salzburg Mozarteum Orchestra, Vienna Philharmonic Orchestra
• Conductor: Carlo Rizzi
• Composer: Giuseppe Verdi
• Audio CD (November 8, 2005)
• SPARS Code: DDD
• Number of Discs: 2
• Label: Deutsche Grammophon
• ASIN: B000B6695S
• In-Print Editions: MP3 Download
• Average Customer Review: 4.1 out of 5 stars  See all reviews (22 customer reviews)
• Amazon Best Sellers Rank: #21,082 in Music (See Top 100 in Music)

Track Listings

Disc: 1

1. Prelude

2. Dell'invito trascorsa è già l'ora

3. Libiamo ne'lieti calici (Brindisi)

4. Un dì felice, eterea

5. Ebben? che diavol fate?

6. Si ridesta in ciel l'aurora

7. E strano! - "Ah, fors'è lui"

8. Follie! Delirio vano è questo! - "Sempre libera"

9. Lunge da lei - "De' miei bollenti spiriti"

10. Annina, donde vieni? - "Oh mio rimorso!"

See all 21 tracks on this disc

Disc: 2

1. Avrem lieta di maschere la notte

2. Noi siamo zingarelle

3. Di Madride noi siam mattadori

4. Alfredo! Voi!

5. Invitato a qui seguirmi

6. Ogni suo aver tal femmina

7. Di sprezzo degno se stesso rende

8. Alfredo, Alfredo, di questo core

9. Prelude

10. Annina? "Comandate?"

See all 16 tracks on this disc

Customer Reviews

Most Helpful Customer Reviews

23 of 25 people found the following review helpful:

5.0 out of 5 stars Opera as Drama: A Traviata of Great Intelligence and Musicality, November 17, 2005

By 

Grady Harp (Los Angeles, CA United States) - See all my reviews
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This review is from: Verdi: La Traviata (Audio CD)

Opera, gratefully, more than any other music form gathers polarized opinions: some aficiandos prefer the old recordings to the new, the 'big' singers to the physically beautiful one somehow postulating that if the singers look credible on stage they simply can't be equally fine as singers, the recordings or performances that rise or fall on the lead and the ensemble makes little impact. Not having been fortunate enough to have been one of the lucky ones that witnessed one of the seven sold out performances of this LA TRAVIATA at this year's Salzburg Festival, I am left only with a live recording probably garnered from several performances to catch a glimpse of what all the clamor from the European audiences was about. But this is enough to believe that this is probably one of the most intelligent and musically correct Traviatas available.

Beginning with a sterling cast - the incomparably beautiful and musically gifted Anna Netrebko as Violetta, the equally handsome and gifted Rolando Villazon as Alfredo, and the always dashing and vocally distinguished Thomas Hampson as Germont - this is as credible as any Traviata staged. The staging in modern dress apparently worked in Salzburg but we have only a few photos in the 2 CD set to prove that. The orchestra is the venerable Vienna Philharmonic conducted by Carlo Rizzi, with no less than the Mozarteum Orchester providing the stage music. But the ingredients only serve as calling cards if the opera does not work as a whole, and here everything is in place.

Anna Netrebko has a very rich lyric soprano voice and has an extraordinary range through which she sings most comfortably. If she does not opt for some of the high climax notes like say, Sutherland and the 'coloraturas', it does not impair the beauty of her interpretation of the beleaguered courtesan and her fall into consumption. But Netrebko is never less than lovely here and the drama of her voice and interpretation are exemplary. Likewise, Rolando Villazon has a tenor voice that grows better with each performance. His Alfredo is all impetuosity, smitten lover, and jealous stag - and his singing is stunningly beautiful. Add the exceptional musicality of Thomas Hampson singing Germont with complete conviction and elegance, and this cast is as fine as one could wish.

If there are problems with this recording they are more focused on the podium where Rossi seems to favor brisk tempi a bit too frequently, not allowing the singers the space to be comfortable with their roulades. But remember this recording is from live performances and not a studio where every aria can be perfected with extra takes. This enhances the drama but does not give as sonorous a recorded sound as could be in a different hall or studio.

The true beauty of this triumphant LA TRAVIATA will be obvious if a DVD of the performance is released. Rarely has a stage been filled with this much beauty of sound coming from such magnetic and attractive performers. Netrebko and Villazon have a wondrous magic as was so very obvious in this past season's LA Opera 'Romeo et Juliette' of Gounod. Let's hope they pair often! Highly recommended. Grady Harp, November 05

9 of 10 people found the following review helpful:

4.0 out of 5 stars Beautiful singing from Netrebko and Villazón, but they could do better than this!, December 20, 2005

By 

Ygor (Brazil) - See all my reviews

This review is from: Verdi: La Traviata (Audio CD)

I've been a fan of Anna Netrebko and Rolando Villazón even before they became such international superstars. One cannot resist to Netrebko's brilliant and caressing voice and to Villazón's passionate and thrilling performances. However, I still think this La Traviata, recorded in Salzburgo, shouldn't have been recorded for release. No, it's not a fiasco, for it contains some wonderful singing and does show why the partnership Netrebko-Villazón is so successful.

However, as we listen to the recording, we conclude that, as lovely as Netrebko sounds in elegiac parts like "Ah, fors'è lui" or "Dite alla giovine", she can be a much more colourful and technically effective singer than she sounds here. After a bad start at Act One, she joins Villazón in an ethereal "Un dì felice, eterea" and then sings "Ah, fors'è lui" with a very nuanced phrasing. Her "Dite alla giovine" is stylish, resigned and beautifully shaped, but it'd be even more exciting if, in the rest of the duet, she sang with that electrifying presence of Gheorghiu. Really remarkable is the end of Act Three, "Alfredo, di questo core", where Netrebko's full and rounded upper notes shine wonderfully. During Act Four, she succeeds with the recitative "Teneste la promessa", properly urgent and desperate, and sings a very committed and beautiful "Addio del passato". Obviously, Netrebko isn't still a completely polished and mature Violetta, because this was only the second or third time she sang the role in an international production. Besides that, she shows some signs of lack of breath during Act One (maybe due to the weird production!) and sings a not-so-exciting "Sempre libera". There, she lacked the bravure and spontaneous fioritura of artists like Sutherland and Callas. That's quite strange, since I have heard her singing "Sempre libera" in live performances and in concerts and she sang her coloratura brilliantly, including an amazing High E Flat. Oh, if just this Traviata had recorded Netrebko at her best vocal shape! I think we'll have to wait a little more to hear a complete recording with Netrebko at her peak (why doesn't DG record Manon or Roméo et Juliette with her?).
Rolando Villazón is, as always, an almost perfect Alfredo Germont. He has almost everything: a stylish singing; a polished and imaginative phrasing; a wonderful legato; an unique voice; and great dramatic skills. As it's been said in other reviews, his Alfredo lacks the elegance of Bergonzi, but it certainly has the captivating passion of Villazón. This great tenor is already proving he's really unique and can't be compared to any other predecessor (well, his tone resembles Domingo's a lot, but that's another story).
Thomas Hampson, frankly, is merely adequate as Giorgio Germont. Apart from a really bad choice in "Di sprezzo degno", where he tried to show the father's authority through some really unmusical ways, he offers an effective but forgettable Germont. His voice doesn't have the heft and creaminess of some of his predecessors in this role. Besides, his interpretation sounded too hard and unsensitive for my ears. Rizzi's conducting sounds fine, even if doesn't bring anything new to our ears.

I'd say this is a fine Traviata sung by singers who have great potential. If you already own a version sung by one of the legendary Violettas of the past and present (Maria Callas, Joan Sutherland, Angela Gheorghiu, Ileana Cotrubas, Virginia Zeani, Beverly Sills, etc.), you should experience this. You'll find some levels of pleasant singing, from good one (Netrebko and Hampson's duet in Act Two) to great one (almost everything Villazón sings and Netrebko's elegiac arias and "Alfredo, di questo core"). However, there are drawbacks, so you shouldn't know this masterpiece by listening to this recording. On the other hand, if you love good voices and has money enough to spend, you'll be pleased!

16 of 20 people found the following review helpful:

5.0 out of 5 stars Glorious, February 24, 2006

By 

Walter Fekula (New York, NY USA) - See all my reviews
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This review is from: Verdi: La Traviata (Audio CD)

I have no idea what the detractors of this amazing recording were listening to. Can it be that some people just cannot sit back, close their eyes and listen to some glorious singing by two of today's most gifted operatic voices on our planet? Anna Netrebko and Rolando Villazon. There is a reason why after the opening, the Salzburg performances were quickly sold out with scalper's tickets bringing astronomical prices. Forget the "hype" which after all originates from the critics and not the promoters. Ms. Netrebko has enraptured me since I first heard her in 1998. At that time, Peter G. Davis, the music critic of New York Magazine wrote of the Kirov appearance: "The lighter sopranos showed more promise, in particular Anna Netrebko, whose agile, unblemished voice soared easily through Lyudmila's roulades and captivated all ears in "Betrothal in a Monastery". She also looks enchanting and creates real characters -- in Lyudmila's case out of practically nothing." He got it right. She is now 34 year of age and during the past 8 years, her voice has become stronger and darker but still able to effortlessly hit those high "C"s and above. I hope I have the pleasure in another 5 years to hear her voice when it turns its golden best. Senor Villazon is a perfect foil to Ms. Netrebko. Somewhat impetuous, his personality is magnetic and sparks fly when they sing together. Thomas Hampson may be blander but his voice has a lovely timbre and fits in nicely. It is remarkable that Deutche Grammophon patched together such a seamless recording from the best of all seven Salzburg performances. Let us not forget the Vienna Philharmonic. This all adds up to the best "La Traviata" ever recorded.