"Sola, perduta, abbandonata."Manon Lescaut sings of being alone, lost and abandoned, not Anna Netrebko. Even though the Russian super soprano would have every reason to do so, at least in the eyes of the tabloid press: the long-awaited separation from her companion Erwin Schrott, her son’s mild autism, the headlines about her support for Putin including singing the Olympic anthem at the opening ceremony of Sochi. The likewise unsurprising cancellation of the "Faust" Marguerite in London, Vienna, Baden-Baden and Hamburg, because the role has long since seemed too lyrically articulated for the voice, which has become darker, more pronounced in the middle range, and in the meantime has turned to the youthful dramatic Verdi repertoire.
There was no mistaking this in June 2010, when Anna Netrebko sang her final premiere of Jules Massenet’s "Manon" in London under Antonio Pappano and a surprise success Vittorio Grigolo. The part of the young, seductive, flirtatious rococo girl who is to be bartered away by her brother to a rich old man, but falls in love with the penniless student Des Grieux, which will plunge them both into misfortune, didn’t really fit anymore.