Puccini: Manon Lescaut – Anna Netrebko

Manon Lescaut (Original Version)
“Ave, sera gentile” (Act 1)
“L’amor?! L’amor?!” (Act 1)
“Tra voi, belle, brune e bionde” (Act 1)
“Ma bravo!” (Act 1)
“Discendono, vediam!” (Act 1)
“Cortese damigella” (Act 1)
“Donna non vidi mai” (Act 1)
“La tua ventura ci rassicura” (Act 1)
“La tua Proserpina” (Act 1)
“Vedete? Io son fedele” (Act 1)
“Non c’è più vino?” (Act 1)
“Cavalli pronti avete?” (Act 1)
“Dispettosetto questo riccio!” (Act 2)
“In quelle trine morbide” (Act 2)
“Poiché tu vuoi saper?” (Act 2)
“Che ceffi son costor?…Sulla vetta tu del monte” (Act 2)
“Paga costor!” (Act 2)
“Vi prego, signorina Minuetto…L’ora, O Tirsi, è Vi Signori, Abati” (Act 2)
“Oh, sarò la più bella!…Tu, tu, amore? Tu?” (Act 2)
“Ah!…Affé, madamigella” (Act 2)
“Ah! ah! Liberi!…Ah! Manon, mi tradisce” (Act 2)
“Lescaut? Tu qui?” (Act 2)
Intermezzo (Act 3)
“Ansia eterna, crudel” (Act 3)
“… e Kate ripose al Re” (Act 3)
“Manon, disperato è il mio prego!” (Act 3)
“All’armi! All’armi!” (Act 3)
“Rosetta!…Eh! Che aria!” (Act 3)
“Presto! In fila!…No! pazzo son!” (Act 3)
“Tutta su me ti posa” (Act 4)
“Manon, senti amor mio…Vedi, son io che piango” (Act 4)
“Sei tu che piangi?” (Act 4)
“Sola perduta, abbandonata” (Act 4)
“Fra le tue braccia, amore!” (Act 4)

Anna Netrebko, Yusif Eyvazov, Armando Pina, Carlos Chausson, Konzertvereinigung Wiener Staatsopernchor, Münchner Rundfunkorchester, Marco Armiliato

Format: 2 CD
Release date: 2/12/2016
Barcode: 0028947968283 Categories: , ,

32,90

NO LONGER AVAILABLE

Après un superbe enregistrement de La Bohème qui marqua les mémoires, Anna Netrebko revient enfin aux héroïnes de Puccini avec une interprétation intense et émouvante de Manon Lescaut.

Na een schitterende opname van La Bohème die in ons geheugen blijft nazinderen, keert Anna Netrebko eindelijk terug naar Puccini’s heldinnen met een intense en aangrijpende vertolking van Manon Lescaut.


   in Opera Now (Feb, 2017)
Fans of Anna Netrebko (and they are legion) will be delighted to see that the diva offers a new recording of Manon Lescaut. Caught live in concert at the Salzburg Festival last year, it has the benefits of dramatic immediacy without the drawbacks of stage noise and variable sound that can bedevil a fully enacted performance. Netrebko seemingly finds the role of Manon very congenial (she was originally coached in it by Riccardo Muti) and it plays to her strengths. She has developed the vocal sweep to carry the big phrases through, and her high notes, generally a strength, are glorious here. Her oft-wayward intonation seems almost to have disappeared, and …

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