Chords for Anna Netrebko Documentary Part 2

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_ _ _ [F] _ _ _ _ [Bb] _
_ _ Russian [Eb] diva Anna Netrebko is in constant demand around the [N] world.
Today she is in London making her way to the Royal Opera House.
And this is like my life going, you know, two months here, one month there, one week in another place.
And tomorrow morning we leaving and yeah, life is crazy.
_ Let's go, stage door. _
_ _ [Eb] _ [Ab] Anna is playing the eponymous [Eb] role of tragic young girl [C] Manon.
_ _ _ [D] _
_ _ _ _ [D] _ _ _ _
[G] She is very arrogant.
The way she treat everybody is _ like_
I love it. _
_ _ _ [B] _ No, no, no, I'm very sweet person, I'm just playing.
_ I'm gonna die again.
_ _ _ _ _ So sad.
_ The daily routine includes a full warm-up before every performance.
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_ _ [N] _ _ _ _ _ _
_ _ _ [G] _ _ _ [Gbm] _ _
_ [E] _ _ _ _ [F] _ _ _
_ _ _ _ [B] _ _ _ _
As with all opera [N] singers, it is the range and quality of Netrebko's voice,
and not her acting skills, [B] that determines the roles she can play.
In opera it's everything about the voice and possibility.
So I have a [D] lyric soprano, so I can sing the certain roles.
And usually they are young girls.
If I would have a dramatic soprano, I would [C] sing Tosca and all these _ [E] serious dramatic heroines.
But no, not [Fm] really, not yet.
_ [Eb] _
_ _ _ _ [Bb] _ _ _ [G]
The move to dramatic roles is one that Netrebko will make when she feels her voice is ready.
_ _ _ [C] Since having her son Tiago in 2008, she has noticed that change may be approaching sooner than she expected.
Ready.
It's naturally my voice is changing.
I think it happened after the baby.
The voice suddenly became to be big.
_ _ _ _ [Db] _
_ [B] _ _ _ [G] _ _ _ _
_ [Db] _ _ I read sometimes the critics and they say, the voice is too big, she has to move, she has to move to more dramatic repertoire.
Maybe, yeah, that's what I'm trying to do, slowly.
Because if you're moving too fast, you can destroy your voice.
You can start to _ wobble, that's how we call it.
And then it's not nice.
Then you will not sing anymore.
Do, do, _ _ _ it's a train. _
_ _ _ [Abm] I had my child quite late.
It took me a while to understand what is going on and how to deal with it, because it's not easy.
But it's amazing, I love it.
This is my happiness. _ _
[B] When it comes to maintaining her voice day to day, according to Anna, there's nothing to it.
_ I'm not eating onion and garlic before the performance, _ just to be polite to my partners.
And I actually don't like the smell of garlic.
Actually, lots of singers who are very sensitive _ about dryness, the conditioner, _ _ they're not. _
_ I'm trying not to.
_ Just don't [G] go to America.
_ [N] _ I'm not even drinking water, I'm drinking alcohol, that's it.
I _ _ _ [C] _ never _ _ _ _ [E] listen to music in my home.
To say the music is with me for 24 [B] hours, no.
And unfortunately I'm extremely lazy, so I never study.
Ten minutes is _ the maximum.
For those few minutes of study each day, Anna slips next door.
_ _ The last one, _ [D]
the last one, an octave down.
Because I don't want to sing really [G] in tune, because it's loud.
_ And poor neighbors will complain maybe.
No, sometimes I do.
And after [Em] that I cannot really _ [B] play.
To go to rehearse with the [Eb] other people, even if it's not a stage and a small room, I have to be prepared.
I cannot do mistakes.
I mean, I can, of course, but it's not polite.
Apparently able to filter out the sounds of her son's playing,
Anna spends a few minutes each day refreshing her memory before attending rehearsals. _ _ _ _
[A] _ _ [Gbm] _ _ _ [G] _ _ _
Okay.
_ [Eb] _ _ _ _ _
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_ _ _ [N] _ _ _ _ _
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This one I have to cut. _ _ _ _ _
_ _ _ [Bm] _ _ _ _ _
_ _ [Bbm] Notes aside, when it comes to [Gb] performance, volume is key.
[Db] Opera singers have to project their voices over an orchestra without [Gb] the aid of microphones. _ _ _
_ _ _ _ [B] _ _ On the stage of an opera [Eb] with an audience of 3,800 people and no amplification, [E] there's no place to hide. _
In a big [G] theater you have [A] to produce sound [Gb] which will run [Am] far away and not stay with you.
[Gm]
But [G] soprano, we're fine.
Our voices are running because it [F] has a lot of high detted notes.
So it's easy for us.
[G] _ _
_ _ _ _ _ _ _ [F] _
_ _ _ _ _ _ _ _
_ _ [C] _ _ _ _ _
Very important to keep your voice pointed.
So it's not [Eb] _ like_ It's more_
More here, you know.
Not in the nose, but it's_
This is the thing.
This is so many things.
Not in the nose, but here, but_
Not here, but there.
It's so [F] hard to explain.
The high notes are the ones when you have to have a big support of the breath.
And the heat you have here, if it's very loud.
_ _ _ _ [G] _
_ _ _ _ _ _ _ _
_ [A] _ _ [B] Kind of like that.
_ [D] _
_ [F] _ _ Sorry.
For being loud.
_ It's loud in the room, but in the big hall it should [B] be just right.
_ [G] _ _ [Ab] _ _
_ _ _ _ _ _ _ [Db] _
_ _ _ _ _ [Bb] _ _
Coming up [Dm] in part three, Anna puts [Eb] her voice to the test.
[G] _
It's showtime in New York. _ _ _ _
[Am] _ _ _ [G] _ _ _ [Eb] _ _
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