Andrew Swait (soprano), Anna Netrebko (soprano), Elina Garanca (mezzo-soprano), Piotr Beczala (tenor), Prague Philharmonic Choir (choir, chorus), Prague Philharmonia, Emmanuel Villaume (conductor)
composed by André Messager, Andrew Lloyd Webber, Antonin Dvorák, Carlos Guastavino, Edvard Grieg, Emmerich Kálmán, Franz Lehár, Gustave Charpentier, Jacques Offenbach, Jerónimo Giménez, Luigi Arditi, Nikolai Rimsky-Korsakov, Reynaldo Hahn, Richard Heuberger
With this album, Anna Netrebko turns to lighter selections than her standard fare: arias and ensembles from operettas, folk, and salon songs, and ... Show synopsis 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...