The magical sounds of Netrebko's soprano voice make one's soul
blossom: at the start of the opera in the arioso that resembles an
emerging flower bud, as if she were blindly reaching out for an
emotion, while later - in Iolanta's duet with her knight – we see the
whole gamut of the emotions of a human being who has just discovered he
has his entire life before him: the intonations grow from inside, with
ease they soar above the music, striving towards the horizon.
magnificent opera was brilliantly performed. It was hard to believe
that it was Netrebko's debut in this role – such was her confidence
throughout the entire opera.
Jörg Königsdorf, Tagesspiegel, 21.07.09
Netrebko conveys the touching naivety of the young blind girl
surrounded by the anxious care of her maids. With increasing and
greater power, the singer senses the unease that overwhelms Iolanta
when she begins to guess that the world contains much more than just
her own woodland paradise. And when love comes into her life it seems
as if the entire noble sound and magnificence of Anna's voice open up
in full. To hear her singing is a pleasure.
Monique Cantré, Reutlinger General-Anzeiger, 21.07.09
At the centre of all this action [Iolanta] was Anna Netrebko, the
uncrowned Empress of all the Russias. The role was written as if
specially for her, beginning with the tender lyrical passages of the
innocent young girl to the pathos-laden of the rousing, sighted and
loving woman. Coupled together with Valery Gergiev's orchestra, this
created deeply affecting moments.
Kristina Maidt-Zinke, Süddeutsche Zeitung, 20.07.09
is embodied on stage by Anna Netrebko with her marble-cool soprano,
which yet still meets all Tchaikovsky's expectations in terms of its
expressiveness. Her voice has clearly grown, it has become much richer
than previously and it is moving towards Tosca and Sieglinde; at the
same time, the well-known timbre remains, dazzling with its thousands
Heinz W. Koch, Badische Zeitung, 20.07.09