Anna Caterina Antonacci headlines the New York City Opera’s 2019-2020 season with a one night only concert performance of Britten’s Gloriana.
Antonacci’s singing is remarkably beautiful for one who clearly doesn’t make that a top priority.
Anna Caterina Antonacci delivered a tour de force of French diction, subtlety of phrasing, variation of vocal timbre, and white-hot stage acting.
Three blocks from the opera house is a terrible time to realize there was homework.
It is easy to become overly identified with opera—as a cleverer friend of mine once noted: being a sports fan is an interest, but if you like opera, everyone thinks of it as a crippling obsession.
Karita Mattila is a gift to this planet.
Coming as Peter Gelb did from the music industry, opera lovers hoped that he would display a more distinctive knack for casting and an improved talent pipeline than Joe Volpe offered during the waning years of his tenure.
Goddess Anna Caterina Antonacci takes the “Sophia Loren” starring role in La Ciociara, a new work premiering at San Francisco Opera in June, 2015.
I suspect most New York City opera-lovers had long since given up hope that the fascinating soprano Anna Caterina Antonacci would ever return to their city.
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