The “verismo” movement in literature and opera occurred between 1875 and 1900, instigated by Giovanni Verga and Luigi Capuana as an expression of “truth” in art. Musically, the subject matter became dark and psychological, the orchestration lush, and the vocal line stressful on the singer’s range, to emphasize emotional tension and strain.

Russian soprano Netrebko has chosen arias from 11 composers to illustrate her dynamic and dramatic palette. Perhaps the most famous, ‘Un bel di vedremo,” from Puccini’s Madama Butterfly, exemplifies the style, a lovely cavatina that suffers increasing self-doubt and self-deceit as the protagonist realizes her abandonment, in spite of her love. The area, “Ebben? Ne andro lontana,” from Catalani’s La Wally–used to potent effect in the film Philadelphia with Tom Hanks–depicts the heroine’s acceptance of isolation and death in the face of lost love. From Puccini’s Tosca, Netrebko sings the famous “Vissi d’arte, vissi d’amore,” the eponymous heroine laments a life meant to celebrate love and art, but knowing all too well her heart is set on vengeance. In Boito’s Mefistofele, Margarite painfully recalls happier moments prior to her conviction for having murdered her child. In the “Suicidio! In questi fieri” aria from Ponchielli’s La Gioconda, the heroine is caught in a trap, similar to that of Tosca, of sacrificing her honor to save her beloved. The extended scenes from Puccini’s Manon Lescaut, like those from Pagliacci, capture the emotional frenzy of a woman maligned and then doomed to a tragic fate. In Manon Lescaut, tenor Yusif Eyvazov joins Netrebko for the passionate, sad duets, assisted by a vibrant, chilling orchestral score.