Anna Caterina Antonacci headlines the New York City Opera’s 2019-2020 season with a one night only concert performance of Britten’s Gloriana.
By La Cieca
11 comments
Sponsored
Sponsored content on parterre box
parterre box, “the most essential blog in opera” (New York Times), is now booking Sponsored Content for autumn and winter 2019. This flexible advertising space follows the look and feel of editorial content on parterre box and is ideal for both short and long campaigns. Ask about our deep not-for-profit discounts!
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.
By John Masko
Three blocks from the opera house is a terrible time to realize there was homework.
By Greg Freed
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.
By Greg Freed
Karita Mattila is a gift to this planet.
By Adam Moscoe
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.
By Dawn Fatale
Goddess Anna Caterina Antonacci takes the “Sophia Loren” starring role in La Ciociara, a new work premiering at San Francisco Opera in June, 2015.
By La Cieca
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.
