Operas

The phenomenon of the all-star open-air or festival gala is as enduring as it is polarizing. Die Operngala der Stars – Live aus Baden-Baden (recorded in July 2007 at the Festspielhaus Baden-Baden and released by Deutsche Grammophon) stands as an archetypal snapshot of the mid-2000s operatic marketing machine. Featuring Anna Netrebko, Elīna Garanča, Ramón Vargas, and Ludovic Tézier, accompanied by the SWR Sinfonieorchester Baden-Baden und Freiburg under the baton of Marco Armiliato, the event encapsulates both the undeniable vocal glamour and the inherent artistic limitations of the gala format. International critical reaction across the Anglophone, German, French, and Italian press revealed a clear consensus: behind the glossy televised spectacle lay uneven musical substance. The undisputed victor of the evening was Elīna Garanča. Critics across European journals praised her immaculate vocal production, crystalline timbre, and aristocratic phrasing. While her rendition of Saint-Saëns’s “Mon cœur s’ouvre à ta voix” received respectable marks, it was her sparkling performance of the Carceleras from Ruperto Chapí’s zarzuela Las hijas del Zebedeo that stole the spotlight, infusing the hall with genuine theatrical vitality and effortless coloratura. In stark contrast, Anna Netrebko’s contribution provoked significant debate. While German promotional reviews and local press highlighted her charismatic presence and crystalline clarity, international vocal connoisseurs pointed out noticeable vocal strain and technical fatigue. Her attempt at Bellini’s daunting “Casta Diva” (Norma) revealed unsteady breath control, pitch discrepancies, and a palpable lack of bel canto finish—shortcomings subsequently explained by a vocal indisposition that led to cancellations shortly after the gala. Her best moments came instead in collaborative duets, notably the Lakmé Flower Duet alongside Garanča, where their timbre blend was undeniably luminous. Among the male soloists, French baritone Ludovic Tézier garnered the highest critical respect. His aristocratic line, noble phrasing, and impeccable diction in Rodrigo’s death scene from Verdi’s Don Carlo provided a masterclass in French-Italianate style. Tenor Ramón Vargas demonstrated his signature warmth and lyricism, particularly in the duet from Bizet’s Les pêcheurs de perles with Tézier, though signs of vocal pushing were evident in the higher register during “Una furtiva lagrima”. Marco Armiliato’s conducting with the SWR Sinfonieorchester was functional, providing flexible and reliable support without imposing distinct interpretive depth. Ultimately, Die Operngala der Stars survives primarily as a high-society visual and cultural artifact—brilliant for Garanča’s ascent and Tézier’s elegance, yet a reminder of the compromises of stadium-style opera recitals. dzen.ru/...uew