Anna Netrebko and Yusif Eyvazov recital – soprano dazzles in Russian songs

The first half consisted entirely of Russian songs, by composers including Rimsky-Korsakov, Tchaikovsky and Rachmaninoff, ranging from tender, to mournful, to lighthearted. The Rachmaninoff pieces were especially revelatory, with Eyvazov bringing power and intensity to “Oh No, I Beg You, Do Not Leave” and elegance to a lovely setting of Pushkin’s “Oh Do Not Sing For Me, Fair Maiden”.

The Russian poet was much in evidence, with high points of the first half including two great arias from Tchaikovsky operas based on Pushkin’s work.

Eyvazov gave a fine performance of “Where Have You Gone, Oh Golden Days” from Tchaikovsky’s opera Eugene Onegin, Lensky’s lament on the eve of his fatal duel, while Netrebko brought to life the drama of the composer’s darkest work, The Queen of Spades, with a harrowing portrayal of the heroine’s anguish and exhaustion in “It’s Approaching Midnight”.

The only disappointment was the setting of one of Pushkin’s best-loved poems, I Loved You, by 20th century Azerbaijani composer Gara Garayev. It is understandable that Eyvazov would want to perform something by a leading composer from his homeland, but the melodramatic approach of the music was ill-suited to the restrained, elegiac beauty of Pushkin’s words.

The second half of the programme opened with Netrebko demonstrating her stylistic range with two songs by Richard Strauss and Dvořák’s charming Songs My Mother Taught Me before the focus moved to a selection of Italian repertoire.

Eyvazov showed that his voice has flexibility and lyricism as well as huge power, with a series of songs by the late 19th century composer Francesco Paolo Tosti, including “No, I Don’t Love You Any More!” and an outstanding interpretation of Stanislao Gastaldon’s gorgeous “Forbidden Music”.

As for Netrebko, the full glory of her voice was on display with a dazzling performance of “Screeching Up in the Sky” from Leoncavallo’s opera I Pagliacci, followed by an exquisite, intimate interpretation of Tosti’s “Serenade”.

It’s hard to describe that voice without being reduced to babbling superlatives – the tone, exceptionally rich and full-bodied yet capable of ravishing delicacy and refinement; the astounding degree of control and flawless technique; the expressiveness and above all, the sheer sensuality of the sound. One soft, long-held note in “Serenade” was so beautiful that you could feel a frisson going through the audience – and you could have heard a pin drop.

The programme closed with two duets by another Italian composer, Ernesto de Curtis which, while attractive, made for a rather lightweight ending – this was a moment when one of those Verdi or Puccini classics would have worked better – but it was fun to see this superstar couple letting go and enjoying themselves singing together.

Recitals of this kind are not just about the singers – the rapport with the pianist Is crucial and Cheung was outstanding throughout. Not only was her empathy with both vocalists immaculate, but her own playing was full of character, emotion and élan.

Both Netrebko and Eyvazov made their appreciation clear and Cheung received a tremendous reception from her hometown audience.

“Anna Netrebko and Yusif Eyvazov in Recital”, Hong Kong Arts Festival, Hong Kong Cultural Centre Concert Hall. Reviewed: March 9.