Anna Bolena

The first thing you think of when you see the picture at left is probably not, "Those two gorgeous, young people must be opera singers."  I mean, where are the horned helmets?  The "healthy" midsections?  Well, it seems opera has finally caught up with the rest of society's embrace of all things superficial.  Not that that's entirely a bad thing (photo is real-life couple and opera superstars Erwin Schrott and Anna Netrebko).

Netrebko is actually a perfect combination of glamour and talent rolled up into a big, beautiful Russian package.  Who better to headline a new production of the rarely produced Donizetti opera, Anna Bolena.  On paper it seems like a no-brainer - international diva + hot, young supporting cast + new production should equal an electric performance.  Unfortunately, the production doesn't rise to the potential of its star.

There is a reason Anna Bolena is not a standard repertory work.  The first act drags along interminably and the music is too similar sounding throughout to sustain a three-hour long evening.  It takes a diva of the first magnitude to electrify the work.  Netrebko is up to the task and nearly succeeds, but she's hampered by a dull, clunky set, uninspired direction and historically correct, but unremarkable costuming. 

The gloomy lighting is sleep inducing.  The costumes are black on black against a dark set.  The direction consists of either the singers standing still or running back and forth across the stage for no apparent reason.  Thankfully, Netrebko's dark, warm voice and surprisingly flexible coloratura keep you from dozing off.

Watching Netrebko square off in the second act duet with rival, Jane (the imposing Ekaterina Gubanova), and seeing her thrillingly sung and sensitively acted closing mad scene are worth sitting through the soporific first act.

Netrebko's supporting cast all have vocally thrilling moments and were all surely cast for their good looks as well as their musical prowess.  With HD movie broadcasts to consider, how can you blame them?  Though a particularly swarthy Ildar Abdrazakov as Henry, made you wonder why Anne would ever choose the cute, but almost nebbish, Percy of Stephen Costello.  Then again, she gets to go home to real-life baby-daddy, Schrott.  Some girls get all the luck.

Thanks to Jill and Audrey (a Pineda Conservatory board member and family friend) who got in line earlier that afternoon to grab $20 rush seats - in the rear orchestra, no less!  We also got to lounge outside the opera house with hottie Dylan McDermott while I enjoyed my Lenny's sandwich.  Not together, of course.  He grabbed the free bench next to us while talking on his cell phone.  I pretended he was my date. 

Only in New York.

Metropolitan Opera House
Monday, October 17, 7:30pm performance