So if you have the courage to present themselves with these works, one should because of the required large vocal range a perfect location compensation, due to the required agility through a virtuoso coloratura technique and - since it is the Roll of Soprano drammatico d'Agilita - have a bulky by nature or at least over a sufficiently focused instrument.
Thus, the misery begins at position compensation: Since the center position for this repertoire requires a higher volume, it is made artificially wider and Eingedunkelt. Is interesting to note that many naturally darker colored Sopranos (Arroyo) brighten the voice for the Vespri Bolero more and put on brilliance rather than wealth. This also relatively slow, wide vibrato and the unclean attacking the transition layer to the head register (fis`` / G`` either thin or too deep intones) explains. Similarly imbalanced be designed transition from the lower middle register in the verdumpfte chest register. On anhörbarsten are only the sounds of - if used unforced - still fresh sounding head register.
The overpressure in the central position is ultimately responsible for ensuring that needs to be used every opportunity to breath grasp. Compare Caballé, Ponselle or Milanov in the Leonora cavatina that do in expansionary phrasing with half of Atmern.
Netrebko's coloratura technique comes through this Stimmvergöberung also quickly reach their limits. Had demonstrated As with her Donna Anna (Giovanni), losing rolls above the Mezzoforte precision. You can hear here even aware of the chromatically rising and shortly thereafter diatonic scale declining at the end of Boleros. Here is more than wiped chased, since the individual notes - because struck in the mouth and not in the front resonance - need too long settling time. Compare here Tetrazzini that brilliantly copes with these technical hurdles with an also rather light voice.
CONCLUSION:
Whether the new "live apart Netrebko in the role of Lady or Leonora -from the high notes - comes in one of the big houses without Mikrophonverstärung about the orchestra seems to me highly doubtful.
Add to that the sloppiness of the manager: The many unclean voiced sounds have a Walter Legge certainly let it pass anyone, he probably would have chosen a cheaper microphone position.
