"Netrebko was all over the stage from the opening minutes, which saw her hopping up and down a waiting room bench to the literally "dying" moments, where she expires in the arms of her love — but only after one last desperately madcap pirouette recalling her high-octane life of pleasure that ends in remorse come too late.""Netrebko was in her usual effortless control of the full range this opera demands — including the famous Gavotte that calls for hitting notes sandwiching high C. But her warm voice acquired an extra coating of honey, giving it an almost mezzo-like quality in the middle register.
Not that any of that hurt her in her depiction of a 16-year-old on her way to a convent until love catches up with her. Just like in previous performances, her voice fit the occasion — childlike, tender, passionate and supple in pitch, phrasing and expression.
And not only her voice reflected a transition from prim but flirtatious teenager, to young lover, to woman of the world and finally to a woman broken and dying in the arms of the man she truly loved. Even if she spoke instead of singing, Netrebko's acting qualities would be able to amply capture Manon's voyage from innocence through self-absorption to the final stop, introspection and death."
Netrebko fine in Massenet's 'Manon' (AP), George Jahn, Wien 6. April 2008
"Wären doch alle Aufführungen an der Wiener Staatsoper so hinreißend wie diese Manon am vergangenen Sonntag."
Eine Oper – sonst nichts, Peter Vujica, DER STANDARD/Printausgabe, 08.04.2008
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