The artistry of Russian soprano Anna Netrebko evokes the golden age of singing that Verdi helped create. Her recordings have sold more than 3.8 million copies, making her this century’s best-selling soprano. The excerpts from Macbeth deliver florid elements (trills, cadenzas, embellished variations) in the two-part opening scene, and coloristic variety and extremes of range in the Sleepwalking Scene. The romanza from Giovanna d’Arco communicates the heroine’s pure-hearted simplicity; beneath her armor she is a country girl. The 4th Act duet from I Vespri siciliani conveys pain, heart and depth, while the siciliana (slow, with lilting rhythms) in Act V shows the eager bride expressing joy. Elisabetta in Don Carlo sings with lyricism. As Leonora in Il trovatore, Netrebko begins with a cavatina (simple song) conveying heartfelt devotion to her imprisoned lover, Manrico. The “Miserer” pits the heroine’s agitated vehemence against Manrico’s despair and the chorus’s solemn, monotone prayer. This is followed by Leonora’s animated, intense, emotional aria, Tu verdrai. . . .