I take no pleasure in tearing down singers (I really don’t). But so much has been made of the soprano Danielle de Niese, and what a prodigy she is. Article after article mentions how she became the youngest singer ever accepted into the Met’s Lindemann Young Artist Development Program, her professional operatic debut at the age of 15 with the Los Angeles Opera, her Metropolitan Opera debut at 19 as Barbarina in Mozart’s “Nozze di Figaro” alongside Renée Fleming, Bryn Terfel and Cecilia Bartoli. These accomplishments are nothing to scoff at. They are mighty and considerable. But, oh, the glorification…spare me! It strikes me as just another example of the toxic fetishization of prodigies in our society and, to a larger extent, a product of America’s youth obsession which seems to be manifesting itself more and more in the opera world. The younger and faster a singer gets to the “finish line” (an international career), the better.

As a young singer, I can’t help but feel a bit bad about myself when I read articles (and there are plenty) about singers like Ms. de Niese, and I suspect others feels the same way. Never mind that, as a young tenor, my voice won’t really emerge until the age of 25, if then. Young singers everywhere are feeling the pressure to reach the Met by the age of 19 (an absurd notion for 90% of most singers out there). Ms. de Niese is the exception, not the rule, but the exceptions receive the majority of the press, creating a skewed perspective as to what it actually takes to build a successful international career, to say nothing of developing a young voice. 

But back to the subject of Ms. de Niese. At 34, still very young, but at an age when her voice should be in full bloom, her sound is shrill, thin, metallic and deeply manufactured. Perhaps making your Met debut at 19 doesn’t mean you’ll be a great singer? Everything is subjective, and if comments on YouTube are any indication, Ms. de Niese clearly has her loyal band of followers. But I simply can’t listen to her. Even some singers with technical shortcomings can compensate with sounds that are intriguing and beguiling in ways that keep listeners coming back for more (Marina Poplavskaya comes to mind). But Ms. de Niese’s sound isn’t just pallid, it is thoroughly and consistently monochromatic, making it both boring and unpleasant to listen to. She is also one of the first singers I’ve ever had trouble hearing at the Met. While attending a performance of the odious “The Enchanted Island,” sitting in the mid-orchestra section, I could barely make out Ms. de Neise’s singing. Her voice was so thoroughly devoid of resonance and squillo (ping), that she was practically inaudible - a troubling notion when one considers that “The Enchanted Island” was a Baroque pastiche with a reduced orchestra and I wasn’t that far from the stage.

This is all such a shame because Ms. de Niese clearly has the makings of an enthralling actress (if she’d ever find an intention to play other than “cute”), and she is an insanely beautiful woman. “Giulio Cesare’s” Cleopatra has become one of her signature roles, largely due to a notorious Bollywood style dance she performs in David McVicar’s Glyndebourne production. If she could sing properly, it would be the perfect melding of a role, actress and singer. I don’t begrudge the fact that she is an attractive young woman, though many do, and it is understandable. I really begrudge the media’s glorification of her status as a prodigy. I feel the emphasis on that is sending a far more dangerous message than anything else. As I said before, a young voice needs time, lots of time, to develop. When discussing her career in The New York Times, the wonderful mezzo-soprano Joyce DiDonato said, “It was a slow birth.” I hate to say this, but whenever Ms. de Niese was on stage during “The Enchanted Island,” my thoughts repeatedly drifted to Ms. DiDonato’s previous scene or aria. She was far more interesting to watch and listen to. Last weekend, the Met broadcasted the McVicar production of “Cesare,” that Ms. de Niese had originally starred in, with Natalie Dessay as Cleopatra. Singing with shimmering sound, bringing new shades and nuances to the role of the crafty queen with her prodigious acting skills, I couldn’t help but feel as though the much older Ms. Dessay was eons more compelling and effective than Ms. de Niese could ever be. Being a prodigy may make for good copy, but it doesn’t make for good opera.

Natalie Dessay “Non disperar” 

I have a confession to make. I’m not really interested in Baroque opera at all. (Yes, opera buffs begin stoning me to death.) The genre has always struck me as an overly long form of musical theater with fantastic, but far too many musical numbers. 

However, as we all know, once in a blue moon a production or performer can come along and change your preconceived notions. For a long time I thought “Traviata” was a soppy, musty bore until I saw Willy Decker’s spare, erotically charged production with Anna Netrebko and Rolando Villazon. Now I’m convinced it’s an incredible piece of theater.

The stars seem rightly aligned for the Met’s “Giulio Cesare”. David McVicar is a director of endless ingenuity, and Natalie Dessay is performer who continues to evolve and astound in surprising ways. This pint-sized soprano continues to challenge what is possible for an opera singer to achieve on stage.

If I can get over my hang-ups on Baroque opera, and my phobia of countertenors (the first time I saw a countertenor I lost my sex drive for a whole month) this “Giulio Cesare” ought to be a rollicking good time!

Coppia iniqua! - From “Anna Bolena”

The final scene from “Anna Bolena” sung by Anna Netrebko. Please take note of the awesome final theatrical coup staged by David McVicar.

The Metropolitan Opera announced their new season today. Unlike last season, there appears to be a few bright spots amid all the dross.

What I am excited for:

‘Maria Stuarda’ with Joyce DiDonato - After the success of ‘Anna Bolena’ - the only interesting thing the Met has staged this season - I’m totally pumped to see the untouchable, charismatic Joyce DiDonato take on one of Donizetti’s most complex heroines. ‘Stuarda’ is definitely my favorite of the three ‘Tudor Queen’ operas, and it will be nice to see the role, rightfully, returned to a leading mezzo soprano. I was actually a fan of David McVicar’s gritty, inky production of ‘Anna Bolena,’ but I hope he takes a fresh approach to this new ‘Stuarda.’ 

‘Rigoletto’ transplanted to Las Vegas - Finally, we can bid adieu to Otto Schenk’s drearily realistic production, which has been long overdue for retirement. Director Michael Mayer has provided some of my most pleasurable theatergoing moments but, as we all know, brilliant theater directors do not equal brilliant opera directors. Still, the idea of transplanting the tale of the hunchback jester to a seedy Las Vegas setting is just too tempting. Let’s hope Mr. Mayer is brave enough to realize his concept all the way through, instead of the usual timidly half-assed approach that has become the norm at the Met. Željko Lucic is one of the most elegant baritones working today, and Diana Damrau should make an excellent Gilda!

‘Un Ballo in Maschera’ by David Alden - Finally, an edgy “Euro-trash” director at the Met! David Alden, much like his brother Christopher, is famous for his bold, courageous reinterpretations of operas. I must admit that I am not really a fan of ‘Ballo,’ which is a hot-mess of plotting and themes. But given the right treatment, even the most problematic works can really take flight in the hands of a brilliant director. Mr. Alden is a pro with a distinct vision; he understands what makes opera tick, and is capable of providing a riveting theatrical experience.

What I am, tentatively, anticipating:

Thomas Adès’s ‘The Tempest’ - This is one brilliant fucking opera that deserves to be seen! I love all things Adès - whom I think is a genius, and one of the best composers of our generation - and his deeply personal take on Shakespeare’s comedy is thrilling and truly touching. What’s more: Simon Keenleyside, who created the role of Prospero, is back with his winning portrayal. Unfortunately, Robert Lepage is directing, so there is every chance that the production will swallow the drama and the music. After all, if Wagner couldn’t triumph over Lepage, what chance does Adès have?

‘L’Elisir d’Amore’ directed by Bartlett Sher - J’adore Bart Sher! Honestly, his work on ‘Light in the Piazza’ and his luminous ‘South Pacific’ were two of the most emotionally devastating (in a good way) pieces of theater I’ve had the privilege of witnessing. But, Sher’s track record with opera has been more varied. Anna Netrebko proved she was one of the toughest bitches around with her stunning ‘Anna Bolena’ earlier this season. Under the guidance of a good director, she can be one of the most truthful, nuanced actresses in all of opera. But one of her worst, most embarrassing performances came courtesy of Mr. Sher in his muddled ‘Contes d’Hoffmann.’ Let’s hope Mr. Sher has a plan going in this time, and that he gets plenty of rehearsals with his leading lady.

Handel’s ‘Giulio Cesare’ - I’d rather chew my arm off than sit through a Handel opera - make that any Baroque opera. ‘The Enchanted Island’ was a particularly punishing night at the opera. But Natalie Dessay could sing ‘Twinkle, Twinkle, Little Star’ and make it interesting, and La McVicar has, apparently, worked wonders with this opera. It’s unfortunate that this is the only Dessay appearance of the season, but this might end up being a delightful surprise.

“It’s time for it to be universally acknowledged that Ms. Netrebko is the great diva of our day. She is the one providing the most charisma and excitement without sacrificing a lush, ever-darkening, still-agile tone.” - Zachary Woolfe (The New York Observer)

Unfortunately, I was not able to catch Anna Netrebko in ‘Anna Bolena’ at the Met this year. I had initially planned to, but my school obligations left me almost no time to visit the opera this year.

I did however manage to catch the tail end of the run with Angela Meade singing the title role. It was a waste of time. Everything you’ve heard about the Met’s production ‘Bolena’ is pretty much true. David McVickar’s production is atmospheric, but unimaginative and half-baked. I’m assuming it’s Ms. Netrebko’s presence that lifts the evening beyond utter banality.

Ms. Meade’s performance mainly confirmed what we already know: she has an impressive command of her vocal technique, and it was on ample display the night I saw her. The coloratura was impregnable; the sound perfectly focused and capable of filling this big house with ease. Her pianissimo phrasing was astonishing as was her formidable execution of trills, runs, fioratura and the messa di voce. It was a master class in cautious, but impeccably precise technique.

But Anna Bolena is not about impressive singing, no matter how many trills and runs Donizetti mandated in his score, and for all her technical prowess, Ms. Meade’s performance came off as ludicrous and, ultimately, guileless. (This is a major problem when you’re portraying one of the most ruthless women in history.) She is not an actress — She scrunched her face up to connote “anger,” did a little half-smirk when she was being “friendly,” and closed her eyes and laid her arms across her chest to be “at peace.” — but she doesn’t need to be Meryl Streep if she can cultivate a real stage presence. A little character study would become her, as would a good director. She needs to stop relying on stock gestures and timid acting tricks if she is going to become an actual artist.

Which brings me back to Ms. Netrebko. I plan to see the production when it returns in the spring with Netrebko back in the lead. After watching her last night in Eric Genovese’s beautiful production, staged at the Wiener Staatsoper (now available on Blu-Ray), I can safely say that this role signals a major milestone in her career.

Ms. Netrebko is one of the most controversial figures in opera, mainly because of her exceptional beauty and her undeniable star power. Many critics view her as the Brtiney Spears of opera, with her endorsement deals and her notorious partying, she has had a hard time being taken seriously. In the past, many opera buffs have found fault with her vocal technique, particularly in the Bel Canto repertoire for which she is best known. Many opera snobs imagine coloratura in a vacuum, as a mindless series of vocal calisthenics meant to be nailed with cool accuracy. Ms. Netrebko, in the tradition of Maria Callas and Barbra Streisand, understands that coloratura should be an organic outgrowth of the musical line, a means of amplifying emotion. Her runs and trills, accurate and stylish, never exist for their own sake.

More importantly, Ms. Netrebko is in her vocal prime, and she has scored a major triumph with this role. Her voice has never been more luscious and full (her legato singing could convert any nonbeliever), and while her voice may lack the spit-fire precision of Ms. Meade’s, Ms. Netrebko turns the calculating queen into a three-dimensional character. (No small accomplishment when you’re playing an Italian opera heroine.)

You get the sense that Ms. Netrebko understands every inch of her character. I don’t have enough space to get into the specifics of what makes her performance so electrifying; but suffice it to say, Ms. Netrebko possesses one of the most important and ineffable qualities that eludes many opera singers: charisma, an undeniable relationship with her audience.

When Ms. Netrebko is on stage, you simply cannot take your eyes off her. Her performance style deftly balances operatic grandiosity with subtle human emotions. It’s a specific style of acting; very tricky to pull off, yet it is the lifeblood of opera.

Take, for instance, the final cabaletta, “coppia iniqua,” when the disgraced queen slips in and out of sanity as she awaits her execution. Ms. Netrebko, looking directly into the camera, nearly burning right through it, seems to spit out every word as an accusation against all those who conspired against her. Ms. Netrbko may not have the voice of the great Callas (and I am not suggesting for a second that she does), but she has this blazing fire inside of her that lends an element of danger to her performance. It’s the same ineffable quality that came so naturally to Callas and made her so mesmerizing.

Ms. Netrebko has said that, for her, ‘Anna Bolena’ signals the next big phase of her career, as she soon plans to move in to the weightier Verdi rep. All I can say is, bring it on! Many argue that she has no business singing the virtuosic bel canto roles she has become known for, because she doesn’t practice truly flawless bel canto singing.

Perhaps, but I doubt anyone could argue with her riveting characterization of Anna Bolena. Simply put, this is the perfect part for her at the perfect moment. After a disastrous ’Lucia’ two years ago, and a misdirected turn as Antonia in ‘Les Contes D’Hoffmann’, Ms. Netrebko has finally staked her claim as a major artist.

Further more, she is an honest-to-god opera superstar (such things still do exist) with proven box office appeal. The opera community needs to be more supportive of charismatic singers who can draw in an audience and have them eating out of the palm of their hand. Ms. Netrebko is such a singer. Superb technicians make for a safe, pleasant listening experience. It is performers like Ms. Netrebko, who set audiences ablaze, and ultimately keep opera thriving.

This is one of MY FAVORITE operas ever! Richard Strauss’ score is fantastic! At once rhapsodic and romantic, the next astringent and dissonant. The German soprano Nadja Michael is perfect as Salome and David McVicar’s amazing production - set in a slaughter house - is chilling!