Anna Caterina Antonacci

“Ms. Antonacci’s remarkable talent is a suspension between artifice and naturalness, theatricality and subtlety.”

– Zachary Woolfe, New York Times

© Jason Daniel Shaw


Established as one of the finest sopranos of her generation, Anna Caterina won prestigious prizes at the Voci Verdiane, Callas and Pavarotti competitions.

She has been honoured with the ‘Chevalier de l’Ordre National de la Légion d’honneur’ by the French Republic, which is the highest national distinction one can receive. Her first recording Era la Notte for the Naive label received great acclaim and she has also recorded L’Alba separa dalla luce l’ombra for Wigmore Live, with her pianist Donald Sulzen, featuring songs by Tosti, Cilea, and Hahn.




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    RESPIGHI Vetrate di Chiesa, Il Tramonto & Trittico Botticelliano

    Label: BIS Records

    Release Date: 05 Jan 18

    Soprano: Anna Caterina Antonacci

    Conductor: John Neschling

    Orchestra: Orchestre Philharmonique Royal de Liège

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    L’Alba Separa Dalla Luce L'ombra

    Label: Wigmore Hall Live

    Release Date: 01 Sep 12

    Soprano: Anna Caterina Antonacci
    Piano: Donald Sulzen

    HAHN from Venezia – Chansons en dialecte vénitien (1901)

    TOSTI Quattro canzoni d’Amaranta (1907)

    CILEA Serenata (‘Mormorante di tenero desio’), Nel ridestarmi, Non ti voglio amar

    REFICE Ombra di nube

    CESTI Intorno all’idol mio

    RESPIGHI Sopra un’aria antica

    TOSTI Marechiare (Canto Napoletano)

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    Label: Hardy Classics DVD

    Release Date: 01 Jun 09

    Teatro Regio Torino

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    DONIZETTI Maria Stuarda

    Label: Arthaus

    Release Date: 01 Feb 09

    Teatro alla Scala

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    BIZET Carmen

    Label: Decca

    Release Date: 01 Sep 08

    Royal Opera House

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    MONTEVERDI L'incoronazione di Poppea

    Label: Farao Classics

    Release Date: 01 Jan 08

    Bayerische Staatsoper

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    Era La Notte

    Label: Naïve

    Release Date: 01 Apr 06

    Conductor: Federico Maria Sardelli
    Soprano: Anna Caterina Antonacci
    Modo Antiquo

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    ROSSINI Ermione

    Label: Kultur

    Release Date: 01 Nov 05

    Glyndebourne Festival Opera

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    HANDEL Rodelinda

    Label: Kultur

    Release Date: 01 Aug 05

    Glyndebourne Festival Opera

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    MOZART Don Giovanni

    Label: Tdk

    Release Date: 01 May 05

    Wiener Staatsoper

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    BERLIOZ Les Troyens

    Label: Opus Arte

    Release Date: 01 Aug 04

    Châtalet Theatre Paris

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    18 Feb 20 Recital with Donald Sulzen
    Wigmore Hall

    “With a sly smile and a knowing wink, Antonacci had her audience in the palm of her hand within her first few phrases. Not that her programme was an audience-pleaser by any means, comprised of mostly unfamiliar song cycles by Respighi, Britten, Poulenc and Nadia Boulanger… Antonacci’s customary textual acuity and charismatic stage presence made the strongest possible case for these unjustly neglected works.

    Respighi’s Deità silvane was a sumptuously romantic start to the evening, depicting the languid nymphs and shadowy grottos of Antonio Rubino’s Symbolist text… Antonacci gave a passionate, operatic reading of the score, filling the hall with lustrous sound and tapering her sound to a velvety whisper in the leisurely waltz of Egle. Best of all was the final movement, Antonacci and Sulzen achieving an almost organ-like sound to depict the titular twilight…

    Nadia Boulanger’s settings of Symbolist poetry occupy a completely distinct sound world, more akin to the sober mélodies of Fauré. With their unobtrusive accompaniment and spare vocal line, it would be easy to categorize the songs as salon music; however, Antonacci dug into the songs with such hypnotic intensity that it was impossible to dismiss them. Antonacci coloured the text beautifully, lending a melancholy to the optimistic romanticism of two songs from Les heures claires. Perhaps the most spellbinding moment of the evening was Mon cœur, sung in a hushed whisper and unbearably poignant…

    Antonacci and Sulzen also clearly relished the final song [of Britten’s On this island], a nightmarish take on cabaret music, Antonacci digging into the text with glee and achieving the perfect balance between sexiness and satire…

    Throughout the [Poulenc] cycle, they wonderfully captured the colours and textures of the text, as if conjuring an art gallery inside Wigmore Hall. Two encores, Frescobaldi’s Se l’aura spira and Fauré’s Au bord de l’eau sent the audience home thrilled after a vivid evening of storytelling.”

    Kevin W Ng, Bachtrack, 19 February 2020

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    19 Oct 19 POULENC La voix humaine
    Teatro Petruzzelli, Bari

    “..Per tradurre però al meglio questa suggestiva idea occorreva un’autentica fuoriclasse come Anna Caterina Antonacci, protagonista anche a Bari di una splendida performance. Il drammatico monologo è stato infatti reso in maniera eccellente dal soprano di origini leccesi, che nella sua poliedrica e straordinaria carriera internazionale ha fatto della ricerca artistica e dello studio a tutto tondo dei ruoli da lei interpretati uno dei suoi punti di forza.

    Come appunto in questa circostanza, dove la totale aderenza scenica, interpretativa e psicologica al personaggio, delineato con ottima musicalità e perfetta pronuncia francese, è emersa sia nei passi più scopertamente declamatori che in quelli dal canto più intenso.”

    (Translated) “..To best convey this evocative idea however, it was necessary to have a true, authentic star such as Anna Caterina Antonacci, a lead in Bari who gave a splendid performance. The dramatic monologue was excellently rendered by the soprano, originating from Lecce, who in her multifaceted and extraordinary international career has made artistic research and the all-round study of the roles she plays one of her strengths.

    As indeed in this case, where her total scenic, interpretative and psychological adherence to the character, outlined with excellent musicality and perfect French pronunciation, emerges both in the most overtly oratorical passages and in those of the most intense singing.”

    Eraldo Martucci, Opera Click, 31 October 2019

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    06 Sep 19 GLUCK Iphigénie en Tauride
    George Enescu Festival

    “Et qui mieux que la divine Anna Caterina Antonacci était à même de défendre l’héroïne mythologique ? C’est donc elle que la direction artistique du George Enescu Festival est allé chercher, et on ne peut qu’applaudir à deux mains un tel choix. Car l’autorité de la tragédienne ne cesse de captiver dès « Cette nuit, j’ai revu le palais de mon père », de même que la naturelle grandeur, la parfaite maîtrise technique aux points les plus périlleux d’un rôle hérissé de si terribles difficultés (le « Je t’implore et je tremble » d’ouverture de l’acte IV en particulier), ainsi que la constante beauté du style, avec le sens inné de cette prosodie qui fait l’essence du discours gluckien. Il faut rajouter à ce concert de louanges, la beauté intrinsèque du timbre et le velours inaltéré de la voix, le plaisir physique distillé par la perfection de l’articulation, et un aigu qui fait fi des lourdes exigences du rôle, et le lecteur comprendra aisément que c’est une véritable extase vocale que deux heures durant nous avons vécue là.”


    “And who better than the devine Anna Caterina Antonacci is there to defend this mythological heroine? The George Enescu Festival sought her out for this role, and we can only applaud their choice. Because the authority of this tragedienne does not cease to captivate us as soon as she begins ‘Cette nuit, j’ai revu le palais de mon père,’ not to mention her natural grandeur, her perfect technical ability at the most perilous moments of this terribly difficult and dishevelled role(in particular, her ‘Je t’implore et je tremble’ at the opening of act IV), as well as the constant beauty of her style, and the naturalness she brings to the prose that defines the Opera’s essential ‘Gluck’ness. We must also add to our list of praises, the intrinsic beauty of timbre and the unchangeable velvet of her voice, the physical pleasure provoked by the perfection of her articulation, and a sharpness that pays no mind to the difficulty of this role, and the comprehensible reading of the part – it’s a veritable vocal ecstasy that we lived for two hours.”

    Emmanuel Andrieu, Opera Online,  8 September 2019

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    30 Apr 19 CHARPENTIER Médée
    Grand Théâtre de Genève

    “Anna Caterina Antonacci construit son personnage petit à petit jusqu’au massacre final avec un art consommé du théâtre. Un art qui se projette jusque dans les failles de sa voix qu’elle sublime dans les scènes d’incantation du troisième acte. Merci Madame Antonacci pour cette intelligence artistique !”

    [Translated] “Anna Caterina Antonacci builds her character piece by piece, slowly leading to the final massacre with an acute art of theatricality. An art that projects itself through the cracks in her voice that she emphasises in the incantation scenes of the third act. Thank you Madame Antonacci for this artistic intelligence!”

    Res Musica, May 2019

    “(…) la Médée d’Anna Caterina Antonacci stupéfie. Celle qui fut une historique Medea de Cherubini, à Épidaure, en 2007, ne fait qu’une bouchée de la magicienne selon Thomas Corneille. La voix a mûri, désormais franchement mezzo. La cantatrice joue de ses raucités et de ses éclats, soulignés par une diction impeccable et un jeu psychotique. Dès le premier air, Un dragon assoupi, tout de rage retenue, la diva des passions extrêmes construit un fascinant personnage. Bouleversante dans « Quel prix de mes amours », elle tend peu à peu sa ligne de chant, passant de la distance glaciale à l’explosion destructrice. La vengeance, qui fait l’objet des actes IV et V, devient folie hallucinatoire. Sa rage est un poignard vocal fracassant le final, sublime de monstruosité.”

    [Translated] “The Médée of Anna Caterina Antonacci amazes. Once a signature in the role of Cherubini’s Medea, iconically in Epidaurus in 2007, [Anna Caterina] is more than a match for Thomas Corneille’s libretto. The voice has matured, becoming more mezzo. The singer plays with her huskiness, and her bursts, all underlined by impeccable diction and psychotic acting. From the first breath, (…) all rage retained, the passionate diva builds a fascinating character. In ‘Quel prix de mes amours’, she is gradually altering her manner of singing, going from an icy distance to an explosive destruction. Vengeance, which becomes the subject of acts IV and V, turns her to hallucinatory madness. Her rage is a vocal dagger, smashing the final sublime monstrosity.”

    Concert Classic, May 2019

    “C’est peu dire que sur le plateau du Grand-Théâtre de Genève, l’interprétation musicale se montre largement à la hauteur, la Médée de la cantatrice italienne Anna Caterina Antonacci épousant chaque contour psychologique du personnage avec un investissement vocal et scénique qui lui a valu une incroyable ovation au moment des saluts. Beauté d’une voix mordorée et sombre à la fois, assurance de la technique, perfection de la diction, musicalité, assorties d’un naturel confondant, sa Médée devient un monstre bouleversant, qui nous touche en plein cœur par la logique et la vérité implacables qu’il exprime : elle restera à jamais une mémorable Médée.”

    [Translate] “It is an understatement to say that the musical interpretation is largely up to the task on the stage of the Grand Théâtre de Genève. The Médée of the Italian singer Anna Caterina Antonancci marries each psychological contour of the character with a vocal and theatrical investment that earned her an incredible ovation at the curtain call. She has the beauty of both a golden yet dark voice, a technical assurance, perfect diction, musicality of a confounding naturalness, this Médée becomes a shocking monster which touches us right in the heart through the truth and logic of its representation: She will remain forever a memorable Médée.”

    Opera Online, May 2019


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    14 Jan 19 POULENC La Voix Humaine
    Musica Insieme Bologna

    “Come la si reciti, lo sa soltanto lei: senza Lagarde, senza la Dante, rimane la cantante con il più vivido registro centrale, rimane l’attrice di genio dalle imprendibili sfumature; l’idea intorno alla donna che supplica, esamina, soffre, mente, cela e ama attraverso il filtro della cornetta è sempre la stessa, chiara e lucida; ogni sera, le inflessioni che la realizzano sono sempre nuove, o come tali sempre si recepiscono, al colmo dell’ammirazione. L’Antonacci è scuola.”


    (Translated) “As you recite it, only you know it: without Lagarde, without the Dante, remains the singer with the most vivid central register, remains the actress of genius with impregnable nuances; the idea around the woman who supplicates, examines, suffers, minds, conceals and loves through the cornet filter is always the same, clear and lucid; every evening, the inflections that make it happen are always new, or as always they are received, at the height of admiration. Antonacci is a school.”

    Francesco Lora, Ape Musicale, 13 February 2019

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    24 Sep 18 BERLIOZ La Damnation de Faust
    Beethovenfest, Bonn

    “Anna Caterina Antonaccis Mezzo dagegen beteiligte sich routiniert in artikulatorischen und dynamischen Reizen an der Projektion einer passionierten, innigen Gretchenfigur, die mit der Soloviola genauso ein eindringliches „König von Thule“ anstimmte, wie sie sich mit dem wunderbaren Englischhorn ihrem flehenden Herzen aufwühlend hingab, mit einigem Vibrato, jedoch rund, elegant und klar phrasiert.”

    Jens Klier, Bachtrack, 24 September 2018

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    09 Jul 18 Recital 9 July 2018
    Teatro de la Zarzuela, Madrid

    “Durante todo el recital Antonacci hizo gala de su generoso centro a medio camino entre la voz de soprano lírico-spinto y la de mezzosoprano, pero por encima de todo, como gran artista de escena que es, demostró sus cualidades interpretativas para otorgar la expresividad requerida a los versos de las canciones, siempre dotándoles de variado sentido y carácter. En la primera parte, la cantante demostró su absoluto dominio de la prosodia francesa y su formidable dicción en diversas canciones escogidas de Debussy y Boulanger, de ambientes etéreos, temas amorosos y paisajes descriptivos”

    Germán García Tomás, Opera World, 13 July 2018

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    12 Apr 18 BRITTEN Gloriana
    Teatro Real, Madrid

    “Anna Caterina Antonacci’s Elizabeth in “Gloriana” was one of the most immaculate interpretations I have seen in years.”

    Francisco Salazar, Operawire Best of 2018, December 2018

    “Such an extreme, sometimes irreverent, characterisation was only possible thanks to the exceptional gifts of Anna Caterina Antonacci. She owned the stage at every appearance and led the audience through a fascinating exploration of the character: commanding and scornful in the duel scene, cheerful but cynical with Essex, august and frankly pleased during the Masque and fatally self-destructive in the dance scene, which led to the deep and naked self-conciousness of the last monologue. Her English pronunciation was extraordinary for a non-native speaker…”

    Fernando Remiro, Bachtrack, 16 April 2018

    “In a brilliant stroke, Britten’s vocal line becomes more spoken than sung and here Antonacci beautifully explored the text through crisp pronunciation, still giving it ebbs and flows of phrasing; she was still singing the text. The voice faded with each phrase, one sensing the Queen’s sense of strength and life fading with it.”

    David Salazar, OperaWire, 13 April 2018

    “La producción muestra muy bien los contrastes entre los diferentes momentos de la reinta, con un vestuario e iluminación precisos, pero sobre todo con una excelente actuación de Anna Caterina Antonacci, que encarna a la soberana y que fue aclamada por el público…”

    Daniel Basteiro, El Espagnol, 13 April 2018

    “Très central, le rôle tombe sans un pli sur sa tessiture, la cantatrice parvenant à s’imposer dans les parties chantées comme dans les passages parlés où ses dons de comédienne se déploient avec assurance. Dominateur, le personnage qu’elle défend n’a rien de monolithique, car la femme tourmentée, vieillissante et fatalement vulnérable s’expriment malgré l’étiquette et les conventions qui la broient. Quasi maternelle face à Robert pendant le splendide duo « Happy where he could finish forth his fate », elle tient son rang en public, avant de nous émouvoir pendant sa prière (final du 1er acte) et l’épilogue qui conclut l’œuvre dans une sorte de délire.”

    François Lesueur, Wandersite, 19 April 2018

    “Anna Caterina Antonacci es, desde que aparece en escena, la Reina. Su interpretación, sólida en todo momento, le valió anoche, al frente del primer reparto, la ovación del público al que saludó nada más caer el telón, asomándose fugazmente aun emocionada antes de que el cortinaje escarlata volviera a subir para que el resto de la compañía recibiera los correspondientes aplausos.”

    Alicia Huerta, VozLibre, 13 April 2018

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    21 Feb 18 Recital 20 February 2018
    Zankel Hall, New York City

    One of our most essential singers arrived for a rare New York recital in February at Zankel Hall. It was a quietly shattering yet deeply satisfying evening, a study in aging, nostalgia and death pursued through ripe Respighi songs, autumnal Nadia Boulanger, changeable early Britten, wryly pained Poulenc. (And, as encores, exquisitely shaped Frescobaldi and an almost murmured Habanera from “Carmen.”) No program notes, no speeches from the stage: She treated her audience like adults, sharing an intimacy charged with mystery

    Zachary Woolfe, New York Times “Best of 2018”, 5 December 2018.

    Beginning with a set of Debussy chansons, Antonacci is the ideal in art song delivery. She internalizes each phrase with the specificity of an actor’s monologue, each long high note, sounding like spun gold, exists purely for the poetry. Her glistening tones are floating and pointed, and her piercing eyes austere in their seriousness.”

    Brian Taylor, Zeal NYC, 21 February 2018

    “Her final encore at the recital was the “Habanera” from Bizet’s CARMEN and her understated, thoughtful performance, caressing the music as she built to a crescendo, made me hunger for more.”

    Richard Sasanow,, 22 February 2018

    “This foray into the extremely familiar was as eye-opening as the rest of the program: Her voice rarely rose above a mezzo-piano, which lent a beguiling mystery to a performance that verged on cabaret.”

    New York Times, 23 February 2018

    “Antonacci is a singer esteemed by the connoisseur (…), a reputation she reinforced on Tuesday with an esoteric program weighted towards France with songs by Debussy, Nadia Boulanger, and Poulenc.”

    George Loomis, Musical America, 22 February 2018

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    24 Nov 17 TUTINO La Ciociara
    Teatro Lirico di Cagliari

    “Anna Caterina Antonacci, unica dell’originario cast americano, domina totalmente il ruolo della protagonista, facendone una creazione appassionata e sentita grazie ad una vocalità sicura e una fisicità prorompente. L’attrice non è da meno con una presenza carismatica anche quando tace.”

    Sardegna Soprattutto, 25 November 2017

    “Quest’opera è stata composta espressamente per le qualità artistiche e vocali, eccelse e molto espressive, di Anna Caterina Antonacci, la quale interpreta una Cesira di straordinaria resa teatrale e drammaticamente elettrizzante. La cantante bolognese trova una linea vocale, soprattutto nel declamato, di alta espressione realizzata con accenti e colori di forte impatto. Non manca una peculiare impostazione canora che nell’assolo del terzo atto coglie un apice davvero commuovente. Inoltre, crea un personaggio singolare e tutto giocato attraverso una recitazione da manuale, senza imitare nessuno. Una grande prova di teatro musicale realizzata da una grande artista!”

    Lukas Franceschini, Opera Libera, 24 November 2017

    “È chiaro che la protagonista, Cesira, appartiene senz’altro a quel tipo di ruoli cui la presenza dell’affascinante Anna Caterina Antonacci da una dimensione enorme, bigger than life per dirla con una frase che si usava molto un tempo nel cinema americano, e questo non solo per la formidabile interpretazione ma per l’intensità, limpidezza e tavolozza del suo fraseggio e la spontaneità del suo canto.”

    Jorge Binaghi, Bellini News, 2 December 2017


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    14 Oct 17 Concert, Accademia degli Astrusi
    Aula Magna Sapienza

    “Interpreti di questo racconto sono stati Anna Caterina Antonacci e l’Accademia degli Astrusi, ensemble bolognese, diretto da Federico Ferri, che può vantare, a dieci anni dall’esordio, un successo ormai internazionale. Non ha certamente sorpreso che il centro della serata sia stato proprio il Combattimento di Monteverdi, di cui Antonacci ne ha saputo fare negli anni una vera e propria una pietra di paragone per qualsiasi futuro interprete.”
    Alexandros Maria Hatzikiriakos, Il Corriere Musicale, 18 October 2017

    “Quel che resta del concerto sono i brani vocali e qui è regina assoluta e incontrastata Anna Caterina Antonacci. Non solo perché possiede un timbro che incanta, perché sa colorare ogni sillaba di una sfumatura differente, perché muta atteggiamento fisico e musicale a seconda del personaggio che incarna, ma soprattutto perché è in grado di dosare tutto questo con intelligenza, sapienza e umiltà. Quando interpreta un brano sa essere dentro la musica e mai sopra di essa, arrivando con sincera emozione al cuore e alla mente dell’ascoltatore. La scelta dei brani le permette di attraversare tre differenti generi: quello ecclesiastico, quello drammatico-madrigalistico e infine quello propriamente operistico. Nelle Lectiones di Colonna esegue con destrezza le difficili linee vocali, rendendo intellegibili anche le differenti “voci”, ma nonostante la rarità esecutiva non è questo il meglio del programma. Monteverdi e Lully, dove la profondità del dramma agito e narrato animano il suo spirito da tragédienne, sono il suo vero terreno d’elezione. Il Combattimento di Tancredi e Clorinda, già eseguito in molte occasioni, è un momento di grande intensità in cui la Antonacci, che interpreta tutti e tre i ruoli previsti, può mettere in campo – è il caso di dirlo – tutte le sue armi: la voce rotonda e scura, il sussurro, la scansione drammatica, il legato commovente. Le parole sono tutte perfettamente comprensibili e il dramma della morte della guerriera pagana nonché il potere salvifico del battesimo passano dalla narrazione alla melodia, dalla poesia all’armonia, senza soluzione di continuità: è pura incarnazione del recitar cantando. L’Armide di Lully, con cui il programma si conclude, è una variante di questa drammatizzazione. L’alternarsi di recitativi e arie, sempre concluse da un brano strumentale, ne sottolinea una idea compositiva più chiaramente definita rispetto a Monteverdi, così come il linguaggio musicale è meno fantasioso, meno partecipe ma sempre egualmente affascinante. Anche in questo caso l’interpretazione della compagine musicale e della parte vocale è di altissimo livello e l’intesa fra l’una e l’altra è chiara nella scansione tragica, così come nel sostegno alla vocalizzazione più accesa e animata.”
    Emiliano Metalli, Connessi ll’Opera, 17 October 2017

    “Al rientro della Antonacci si dà vita alla magia: il Combattimento di Tancredi e Clorinda di Claudio Monteverdi, di cui probabilmente la Antonacci è la migliore interprete al mondo. Siamo, dunque, nella Gerusalemme letteraria, quella della Liberata del Tasso. Il passo è una delle delizie del poema, un brano di una sensualità tale da tracimare oltre l’imposto dal rigido clima controriformistico, stretto all’erotica fantasia del Tasso. La Antonacci è una fraseggiatrice impareggiabile, per sensibilità come pure per nobiltà d’eloquio. Riesce a eseguire con una pura naturalezza tutte le ardite difficoltà dell’elaborato recitativo, che si stringe in momenti concitati (lo scontro più acceso fra Tancredi e Clorinda) e si allarga nella contemplazione estatica della morte della saracena, che si monda del paganesimo per abbracciare la fede cristiana. Non nego di aver versato più di una lacrima: testimonianza dell’intensità cristallina dell’esecuzione della Antonacci, interprete di rara intelligenza. Gli applausi scattano generosi, esaltati.”
    Stefano Ceccarelli, Ape Musicale, 19 October 2017


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    09 May 17 Recital: 09 May 2017
    Oper Frankfurt

    “Dabei wählte die Mezzosopranistin französische und italienische Komponisten (Berlioz, Debussy Hahn, Poulenc und Respighi). Eine Anlaufzeit brauchte sie nicht. Bereits beim ersten Ton des eröffnenden „Mort d’ Ophèlie“ von Hector Berlioz war man von ihrer besonderen Stimme beeindruckt, die warm im Klang, gut fokussiert und kraftvoll ist. Selbst ein schlichtes „a“, „u“ oder „o“, wie sie es am Ende von Ophelies Tod aushauchte, bekommt bei ihr großes Format.”

    Markus Grundig,, 9 May 2017

    “Sie gehört offenbar zu den Großbühne-Erfahrenen, die sich ohne weiteres auch auf Kammer-Situationen einstellen. Alles war sehr intim, während Claude Debussys mystifizierenden „Liedern von Bilitis“ und einer delikaten Ottorino-Respighi-Auswahl, in der Antonacci umstandslos in einen singenden Erzählton wechselte. Interessant war überhaupt, wie sie klassischen, sehr souveränen, geradezu coolen Schöngesang mit dem Individuellen der Charakterstücke verband, ohne schroff oder exaltiert zu klingen.”

    Judith von Stenburg. Frankfurter Rundschau, 11 May 2017

    “Der Zusammenklang zwischen der sanften Stimme der Sängerin und den vier Streichinstrumenten betörte.”

    Matthias Gerhart, Frankfurter neue presse, 11 May 2017

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    12 Mar 17 POULENC La voix humaine
    San Francisco Opera

    “Antonacci, who has been performing La Voix humaine for several years, gave a mesmerizing performance in all respects….Nothing more was needed, and anything more might have seemed excessive, so intensely did Elle come alive in Antonacci’s voice and body. It is no small thing to carry such an intense and detailed role on one’s own.  The singer must have both a pure legato and great declamatory powers. She is called upon to reflect the actions and character of her unseen, unheard lover, essentially portraying both halves of the conversation. And indeed, in the endlessly varied shading of Antonacci’s voice and in her every movement, you could almost hear his tone of voice, his sighs of impatience, his coldness to his former lover, as much as you could see and hear Elle’s misery and longing.”
    Lisa Hirsch, San Francisco Classical Voice, 14 March 2017

    “Her expressive, rich-toned soprano sounded alternately urgent, seductive, charming and desperate, but was admirable for its restraint throughout; her Elle manages to illuminate the depths of her obsession without going over the top.”
    Georgia Rowe, Mercury News, 21 March 2017

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    19 Jan 17 MASSENET Werther
    Liceu Barcelona

    “Antonacci es una Charlotte atormentada, un volcán reprimido bajo la máscara de la hija mayor responsable; también ella luce un francés increíble, una atención a la frase y a la palabra, que cincela, y un canto cálido en el que la tradicional ambigüedad vocal del rol soprano/mezzo queda resuelta más que satisfactoriamente. ”
    Jorge Binaghi, Mundoclasico, 26 January 2017

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    03 Dec 16 HINDEMITH Sancta Susanna
    Opera de Paris

    “Si l’orchestre, les chœurs et la plupart des interprètes – en tête les sublimes mezzos sopranos Elina Garanča et Anna Caterina Antonacci – s’acquittent vaillamment de leurs charges…”
    Caroline Alexander, WebThéâtre, 4 December 2016

    “Pour servir le rôle de Sancta Susanna, la soprano Anna Caterina Antonacci fait preuve d’un engagement scénique très fort, incarnant cette sœur écorchée : tant par son désir que par l’interdit qu’elle semble subir.”
    Maeva Da Cruz, Bach Track, 2 December 2016

    “Anna Caterina Antonacci triomphe dans le rôle de la religieuse sacrilège, avec cet art de l’incarnation écorché, cette précision du mot et de la note qui n’appartiennent qu’à elle – tout juste perçoit-on quelques limites dans les passages les plus dramatiques.”
    Emmanuel Dupuy, Diapason, 1 December 2016

    “Anna Caterina Antonacci possède un timbre clair et chaud qui confère à son personnage toute la sensualité requise. Elle campe une Sancta Susanna à la fois fragile et ambiguë. La mezzo-soprano n’hésite pas à découvrir sa poitrine comme le demande le livret afin de donner plus de vérité à son incarnation troublante et hallucinée qui sera saluée par une ovation méritée.”
    Christian Peter, Forum Opera, 30 November 2016

    “Anna Caterina Antonacci sang with warmth and power as Susanna, eliciting sympathy for the tortured wayward nun.”
    John Allison, Opera Magazine, February 2017

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    26 Oct 16 Recital, Donald Sulzen
    Conservatorio G. Verdi di Torino

    “… con La mort d’Ophelie di Berlioz, di cui con intuito perfetto ha addolcito la tragicita nel tono di leggenda: espansione lirica con dentro una nota di spaesamento, di follia, che solleva la frase in una linea di originalita assoluta. ”


    “… la Antonacci vive con dedizione totale questo sfibrante ‘ teatro della voce; declamato dramatico, recitativo, parlato, sussurro, lusinga, invettiva, c’e tutto per definire l’angoscia della solitudine femminile, unendo all’intelligenza drammatica la pienezza a freschezza della voce.”
    Girgio Pestelli, La Stampa, 29 October 2016

    “Vi sono oggi al mondo pochissime cantanti che sanno dominare la scena come sa fare
    Anna Caterina Antonacci, non solo in virtù del fascino e della bellezza, ma soprattutto per la
    capacità, davvero unica, di trasformare il canto in verità teatrale, al di là di ogni parametro
    sonoro di una voce che si trasfigura cercando di trasmettere l’anima della parola intonata.
    E non c’è partitura che, più de La voix humaine, monodramma di Jean Cocteau musicato
    da Poulenc, sappia cogliere l’essenza dell’essere artista prima ancora che primadonna.
    La Antonacci lo è, come ha dimostrato nella serata che al Conservatorio Giuseppe Verdi di
    Torino, per la stagione dell’Unione Musicale, l’ha vista aprire il recital con La mort d’Ophélie
    di Berlioz per proseguire all’insegna della lirica da camera francese con le Chansons de
    Bilitis di Debussy e dalle sette sequenze de La fraîcheur et le feu di Poulenc. Fino a qui si
    ammira in lei la compostezza talvolta fin troppo asciutta con cui la voce si avvolge attorno
    alla parola (perfetta la pronuncia francese) inondandola di guizzi espressivi sempre attenti
    a fare del canto una declamazione sillabica quasi parlata, attenta alla suggestione dei testi
    per non perderne mai il senso evocativo.”
    Alessandro Mormile, L’Opera Recensione, October 2016

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    22 Jun 16 BIZET Carmen
    Teatro Regio Torino

    “…in particolare, il trionfo personale di Anna Caterina Antonacci nel ruolo della protagonista…nell’interpretazione offertaci dalla Antonacci, concentrata e proiettata sul drammatico e serrato confronto finale …ha dato prova di straordinaria musicalità. E ha sfoggiato una voce inalterata per bellezza e ricchezza di colori.”
    Lodovico Buscatti, Opera Click, June 2016

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    01 Dec 15 BERLIOZ Les Nuits d'ete
    Philharmonie Berlin

    “Die fabelhafte Sopranistin Anna Caterina Antonacci, sonst an den Opernhäusern der Welt zu Hause, interpretiert die romantisch-outrierte Todessehnsucht mit entwaffnender Natürlichkeit. Selbst den Seufzern des vierten Lieds „Absence“, diesem zu Musik geronnenen Schmerz, haftet nichts Gekünsteltes an.”
    Christiane Peitz, Der Tagesspiegel, 1 December 2015

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    13 Nov 15 BERLIOZ La Mort de Cléopâtre
    Gewandhaus zu Leipzig

    “Eine große Szene widmete Hector Berlioz auch der ägyptischen Königin Kleopatra, deren herzzerreißende Schicksals-Klage er 1829 in seinem lyrischen Orchesterwerk La mort de Cléopâtre“ in Musik setzte. Die Italienerin Anna Caterina Antonacci gibt in ihrer Sopranpartie eine glaubwürdig verzweifelte Kleopatra, die ihrem Ende mit
    Stolz und Zerrissenheit begegnet. Im Laufe ihres eindringlichen Gesangs entfalten Antonacci und das Orchester zusammen eine beeindruckend breite und farbige Gefühls-Palette – souveräne Empörung wechselt mit rezitativisch angehauchter Verzweiflung.”
    Torsten Fischer, Leipziger Volkszeitung, 16 November 2015

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    24 Oct 15 FAURE Penelope
    Opera National du Rhin

    “Les quelques minutes nécessaires au contrôle du vibrato ou l’aigu conquis de haute lutte ne sont que broutilles en regard de la science du mot dans un français impeccable, de la pertinence des intonations, de la subtilité des couleurs, de la théâtralité du geste. Hiératique et souvent statufiée comme sur un piédestal au niveau supérieur du décor, elle impose avec toute sa féminité une figure éminemment tragique mais forte et déterminée”.
    Michel Thomé, Res Music, 26 October 2015

    “Anna Caterina Antonacci possède la classe, le charisme et la beauté d’une grande tragédienne.”
    Sonia Hossein0-Pour, Forum Opera, 23 October 2015

    “Pour relever le difficile defi vocal impose par le role-titre, il fallait appel a une cantatrice dramatigue chevronnee. cela tome bien pusique c’est Anna Cateina qui defera ce soir ce qu’elle a fait ce jour. Si la belle soprano italienne connait le role pout l’avoir interprete au TCE en version de concert, elle incarnera l’archetype de le femme fidele pout la premiere fois sur scene.”
    Charlotte Saintoin, Olyrix, 23 October 2015

    “Il faut pour un tel rôle, une grande tragédienne, qualité à quoi peut
    prétendre Anna Caterina Antonacci : la soprano italienne incarne
    admirablement cette femme tenace et inflexible qui ne se lamente jamais
    et trouve son énergie dans sa volonté de fer même si voix laisse en
    revanche apparaître quelques signes de fatigue.”
    Maxim Guirauton, Les Echos, 26 October 2015

    “Anna Caterina Antonacci rose to the challenge of the role’s heightened decamation, noble phrases and neo-Classical prosody with pithy diction, impressive breath control and great charisma…”
    Rolf Fath, Opera Magazine, February 2016

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    07 Jun 15 BERLIOZ Les Troyens
    San Francisco Opera

    “…perhaps even more exciting, Anna Caterina Antonacci brings her stunning portrayal of the prophetess Cassandra to California after burning up opera houses in France and England… sheer vocal allure and physical appeal”.
    Phillip Campbell, Bay Area Reporter, 4 June 2015

    “Antonacci’s ready. Even her Cassandre is glamorously Loren-esque in her emotionally intense portrayal of a woman betrayed not by the gods who gave her vision but by the smug, blind bellicosity of men”.
    Mark Swed, Los Angeles Times, 8 June 2015

    “As Cassandra, Anna Caterina Antonacci was triumphant in the difficult role of the princess who envisions disaster, not only singing flawlessly, but with movements clearly portraying a person in distress”.
    Janos Gereben, San Francisco Examiner, 8 June 2015

    “The cast, too, sounded largely first-rate on opening night. Soprano Anna Caterina Antonacci’s Cesira was a dynamo of emotional and vocal majesty, singing with a full-throated urgency that made even the most conventional melodic outbursts seem affecting”.
    Joshua Cosman, SF Gate, 14 June 2015

    “One of the great rewards of San Francisco Opera’s summer season has been the return of Anna Caterina Antonacci. The Italian soprano, whose last previous appearance here was in 1998, has been wowing audiences as Cassandra in SFO’s new production of “The Trojans,” adding considerable luster to an already starry cast. Then, Saturday night at the War Memorial Opera House, she scored again, taking on the leading role in the world premiere of Marco Tutino’s “Two Women (La Ciociara).Antonacci is sensational”.
    Georgia Rowe, Mecury News, June 2015

    “As Cassandra, Anna Caterina Antonacci was vocally and dramatically a compelling figure. Her dark-hued soprano perfectly rendered the darkly ominous portents of Cassandra’s prophecy”.
    James Roy MacBean, Berkely Daily Planet, 11 June 2015

    “…Antonacci scored thrillingly in a role she is already famous for…”
    Phillip Campbell, Bay Area Reporter, 18 June 2015

    “As Cassandra, the company cast Anna Caterina Antonacci, the most formidable singer alive for this role…”
    James L. Paulk, Arts ATL, 22 June 2015

    “Il cast è stato capeggiato dalla notevole Cassandra di Anna Caterina Antonacci che ha dato significato al suo personaggio con tutta l’intensità emotiva di una donna ferita, cantando con profonda espressione, solidità in ogni registro e timbro fascinoso”.
    Ramón Jacques, L’ape Musicale, 2 July 2015

    “ANNA CATERINA ANTONACCI  gave two stunning performances in San Francisco. Her Cassandre launched spectacularly the epic Les Troyens and she also created the role of Cesira in the world premiere of Marco Tutino’s La Ciocara (Two Women). Her musical and dramatic embodiment of this character lifted the opera to high tragedy that might not have been palpable in the neo-Romantic score. New Yorkers got to hear Antonacci in a splendid recital at Alice Tully Hall that included a tour-de-force performance in Poulenc’s La Voix Humaine, a monodrama only rare artists can pull off.”
    Fred Plotkin, Opera Vore, 18 December 2015

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    28 Aug 15 Lagrime Me CD

    “Oggi, Anna Caterina Antonacci è da considerare tra le più grandi cantanti della nostra epoca, sia per la preparazione musicale e per la tecnica, sia per la pertinenza artistica con la quale infonde vita ai personaggi sulla scena e nei concerti.

    Anna Caterina Antonacci porge con viva partecipazione ed attenzione al testo le pagine di Monteverdi, di Purcell e di Haendel, ma veramente ottiene un risultato bellissimo nell’interpretazione della cantata di Barbara Strozzi, Lagrime mie, a che vi trattenete, testo che, opportunamente, è stato scelto dalla Concerto come titolo per il presente cd, pubblicato nella collana “live” della casa musicale milanese.

    Completano il concerto, quattro pagine strumentali di Corelli, di Geminiani, di Purcell e di Giambattista Martini affidate all’Accademia degli Astrusi, brillanti nella sonorità, mobili e fantasiosi nelle dinamiche”.

    Bruno Belli, Classical Online, 2015

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    12 May 15 TUTTINO AND CERESA La Ciociara
    San Francisco Opera

    “Starring as Cesira is Italian soprano Anna Caterina Antonacci, who has garnered outstanding reviews throughout Europe and for her rare North American performances”.
    Opera News Desk,, 22 May 2015

    “The stunning Italian diva Anna Caterina Antonacci, for whom Tutino wrote this piece, will lead a cast whose story will both break your heart and mend it with hope and reconciliation.”

    David Gockley,, 22 May 2015

    “If seeing Antonacci while you have the chance is important…then the following production in the summer season should also prove irresistible…having Anna Caterina Antonacci taking on a role indelibly associated with the great Sophia Loren adds to the intriguing prospects of the theatrical production.”
    Paul Campbell, Bay Area Opera, 4 June 2015

    “When acclaimed Italian composer Marco Tutino came up with the idea of an opera based on the piece, he knew exactly who he wanted to play the role of Cesira…Anna Caterina Antonacci. “She is unique. You can’t have two Anna Caterinas,” he said. “She is so particular for her voice, but above all for her personality.” ”
    Emily Wilson, SF Weekly, 4 June 2015

    “Anna Caterina Antonacci is an opera star who thrives on defying expectations. A mesmerizing performer with a supple and lustrous voice, she seems equally at home in roles written for soprano or the lower-voiced mezzo-soprano.”
    Mike Silverman, The Associated Press, 7 June 2015

    “It’s probably not a coincidence that the new opera’s leading soprano, Anna Caterina Antonacci, bears a strong likeness to the young Sophia Loren”.
    Cheryl North, Mercury News, 8 June 2015

    “The cast, too, sounded largely first-rate on opening night. Soprano Anna Caterina Antonacci’s Cesira was a dynamo of emotional and vocal majesty, singing with a full-throated urgency that made even the most conventional melodic outbursts seem affecting”.
    Joshua Cosman, SF Gate, 14 June 2015

    “One of the great rewards of San Francisco Opera’s summer season has been the return of Anna Caterina Antonacci. The Italian soprano, whose last previous appearance here was in 1998, has been wowing audiences as Cassandra in SFO’s new production of “The Trojans,” adding considerable luster to an already starry cast. Then, Saturday night at the War Memorial Opera House, she scored again, taking on the leading role in the world premiere of Marco Tutino’s “Two Women (La Ciociara).Antonacci is sensational”.
    Georgia Rowe, Mercury News, June 2015

    “Anna Caterina Antonacci is something of a cult star, known as a brilliant singing actress, and Tutino wrote the role of Cesira with her in mind”.
    Anne Midgette, Washington Post, 14 June 2015

    “Anna Caterina Antonacci gave a finely detailed and responsive performance as Cesira”.
    Lisa Hirsch, San Francisco Classical Voice, 15 June 2015

    “Italian soprano Anna Caterina Antonacci… has more than enough strength and passion to make an unforgettable impression as Cesira, La Ciociara… Surprisingly diminutive, Antonacci is still bigger than life as a complicated woman of indomitable courage and humanity. She commands the stage in her grueling assignment with a performance that will likely define her much-admired career”.
    Phillip Campbell, Bay Area Reporter, 18 June 2015

    “Soprano Anna Caterina Antonacci blesses Cesira with the raw situational understanding and nerve her character deserves, her determined, full-bodied voice highlighting shades of Cesira’s strength and vulnerability”.
    Paul Selar, Bach Track, 18 June 2015

    “Soprano Anna Caterina Antonacci is a force of nature as the formidable Cesira—a vocal powerhouse and deeply committed actress”.
    Chuck Lavazzi, KDHX, 24 June 2015

    “The performance by Anna Caterina Antonacci as Cesira was absolutely riveting and vocally wonderful. Antonacci is a singing actress of the first order…”
    James Roy MacBean, Berkely Daily Planet, 25 June 2015

    “The main thing is that Tutino wrote the part of Cesira for Anna Caterina Antonacci, who is as close to the Sophia Loren of opera as we might hope. A dramatically commanding soprano, she is an exceptional stage presence. I was sitting close enough to see her facial expressions, and they registered the cinematic realism of a great actress”.

    Mark Swed, Los Angeles Times, 29 June 2015

    “Characters in Two Women include the mother, Cesira (the Loren role), given a knockout performance by one of today’s operatic superstars, the sensuous dramatic soprano Anna Caterina Antonacci”.
    Eric A. Gordon, People’s World, 29 June 2015

    “…Tutino co-wrote the libretto and composed the work for star soprano Anna Caterina Antonacci, the perfect operatic incarnation of the down-to-earth, clever, resourceful and sexy heroine. Antonacci is a beauty who has created sensations with the roles of Carmen (Bizet) and Cassandra (Berlioz). She managed seemingly effortlessly to step into Sophia Loren’s shoes…”
    Renate Stendhal, Huffington Post, 2 July 2015

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    12 Mar 15 Recital: 12 March 2015
    Tobin Centre for the Performing Arts, Opera San Antonio

    “The program presented Ermanno Wolf-Ferrari’s “Il segreto di Susanna,” sung in Italian, and Francis Poulenc’s “La voix humaine,” sung in French, with English subtitles shown on monitors at the Tobin Center’s Carlos Alvarez Studio Theater. Despite the wide range in emotion and acting that was required, soprano Anna Caterina Antonacci soared with excellence in both operas.”
    David Hendricks, San Antonio Express News, 13 March 2015

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    05 Mar 15 Recital: 05 March 2015
    Alice Tully Hall, Lincoln Center

    “Ms. Antonacci’s remarkable talent is a suspension between artifice and naturalness, theatricality and subtlety. She may be putting on an act, but she’s also telling the truth.

    Her voice resinous, penetrating and peerlessly articulate, Ms. Antonacci did not create an easy program, either to perform or to listen to. The dark intensity was relentless, the mélodies she chose not the repertory’s most melodic. But her alertness to the texts and the unassuming grandeur of her presence made the night riveting.”
    Zachary Woolfe, New York Times, 6 March 2015

    “From the moment of her appearance with her pianist Donald Sulzen, even before she opened her mouth, Ms Antonacci commanded attention with her quiet concentration. Her voice hardly needed any warm up as she plunged into her first selection, Berlioz’s La mort d’Ophelie. Her high notes may not have a free extension of a soprano, but they were lyrical and clear, and her middle voice is dark and yet warm.”
    Ako Imamura, Bachtrack, 8 March 2015

    “Antonacci clearly knew what she was doing when she chose this piece [La voix Humaine], which plays to her strengths as both an actress and singer, with crystalizing insights into Elle’s unhappy present and better times, taking full advantage of her penetrating sound. She is up to all the challenges of Poulenc’s music, which is, frankly, far more interesting than the storyline and seems more modern and poetic than his score for DIALOGUES DES CARMÉLITES. Donald Sulzen provided the excellent piano accompaniment for the evening–more collaborator than accompanist, really, for the two seemed completely in tune.”
    Richard Sasanow,, 10 March 2015

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    25 Jan 15 GLUCK Iphigenie en Aulide
    Grand Theatre de Geneve

    “Di un debutto di Anna Caterina Antonacci nell’Iphigénie en Tauride di Christoph Willibald Gluck si parlava già quasi tre lustri or sono: sede doveva esserne il Teatro Comunale di Bologna, allora sotto la direzione di Luigi Ferrari e Gianni Tangucci, ma il progetto sfumò nel nulla e non se ne parlò più. Per chi professa il gluckianesimo, quelli erano gli anni nei quali Riccardo Muti giocava alla Scala le carte dell’Alceste, dell’Iphigénie en Aulide e dell’Iphigénie en Tauride, fino all’asso calato nel 1996 e 1999 con l’Armide: a scorrere le locandine di quest’ultima vengono oggi i brividi, ché alle firme di Muti e di Pier Luigi Pizzi, all’apice del loro fasto artistico, si aggiungeva una schiera di seconde parti rette, tra gli altri, da Norah Amsellem, Violeta Urmana, Giuseppe Filianoti, Juan Diego Flórez, Simon Keenlyside e Gregory Kunde; protagonista era l’Antonacci, incoronata regina delle tragédiennes e dunque candidata ideale e naturale al passaggio a Iphigénie. Da allora a oggi, i trionfi nelle due Alceste di Gluck, nella Medea di Cherubini e nei Troyens di Berlioz, ma anche nella Nina di Paisiello, hanno dimostrato quanto giusto per lei e urgente per gli altri fosse quell’indirizzo di repertorio.

    Eppure, per il suo debutto nella ventilata Iphigénie en Tauride si sono dovute attendere le recite ora in corso al Grand Théâtre di Ginevra (25 gennaio – 4 febbraio). Nessuna sorpresa e conferme maiuscole. Quello dell’Antonacci è un codice culturale e stilistico noto, fermo, risaputo, forbitissimo. In esso e su esso v’è ormai poco da aggiungere. Non sono ammesse rivali davanti alla cura maniacale della parola, nella sua pregnanza espressiva, nella sua consistenza fonetica e nel suo dispiegamento retorica. Timbro altero e malinconico, di inconsueto calore nei centri, e gesto tanto sollecito quanto coturnato conciliano nella sua lettura musicale e attoriale il realistico e il declamatorio, l’appartenenza al moderno e la conoscenza dell’antico. Tale è la completezza dell’artista, altrimenti inusitata sulle scene liriche, che nella tempesta iniziale dell’opera, dopo una pantomima superbamente dominata, quando la cantante attacca le sue prime battute, solo allora ci si sovviene che ella è lì per essere ammirata non solo alla vista ma anche all’ascolto. Alla mente rimarrà dunque, ancora una volta, un paradigma di arte musicale e teatrale, atteso e confermato, completo e stabile poiché non esibito nell’istinto di un momento, bensì compreso in un percorso artistico erudito, sorvegliato, maturato sulla padronanza di molte discipline.
    Nello spettacolo ginevrino, tutto il resto è di vaglia ma passa in subordine rispetto allo stradominio carismatico della primadonna. Interessante soprattutto a parole è la presenza di Hartmut Haenchen come concertatore: la sua specializzazione in Wagner e Mahler basta a spiegare in nome di chi egli sia stato convocato a leggere Gluck. Detto non più un ventennio fa, ma oggi e in conclamata epoca di esecuzioni storicamente informate, l’incoraggiamento di turgide letture tardoromantiche pare sempre più un’anacronistica sopravvivenza culturale. Tuttavia, se Haenchen è un Kapellmeister non troppo sensibile alle sottigliezze letterarie e ornamentative del classicismo francese, in lui si rileva parimenti la volontà di rivolgere lo sguardo verso il Settecento, e di adottare, accanto a tempi piuttosto seduti e a fraseggi caparbiamente legati, impasti lievi se non edenici, escursioni dinamiche contenute, infine una sincera dedizione al testo musicale e al mestiere del cantante. Il tutto in armonioso dialogo con l’Orchestre de la Suisse Romande, il coro del teatro e una compagnia di canto non sublime ma decorosa.

    Merita curiosità prima e lode poi la prestazione di Bruno Taddia come Oreste, cioè quella di un baritono leggero, dedito perlopiù a parti buffe, in uno dei ruoli tragici per antonomasia. Avviene che egli riversi nell’eroe euripideo l’acume maturato passando da Taddeo a Figaro a Malatesta, con esiti attoriali interessanti poiché frastagliati nella psicologia e svelti nel modulare di risorse. Regge inoltre senza troppo sforzo e con limitata perdita di smalto una tessitura assai acuta, codificata in chiave di Basso ma di fatto alle soglie della gamma tenorile: sono così arginati i danni di un’errata interpretazione delle categorie vocali, nel percorso dal Settecento francese, con la sua scuola declamatoria e il suo corista più grave di un buon semitono, ai giorni nostri, dove tutto tende alla globalizzazione e dove la macrocategoria vorrebbe costringere a sé il fenomeno come un letto di Procuste (leggi: il baritono di Gluck condivide con quello di Donizetti il nome ma non l’essenza, e il concetto non è facile da disaminare con direttori artistici e case di produzione; nelle loro ragnatele finiscono cantanti incauti o senza voce in capitolo).
    Nell’errore di valutazione appena descritto cade invece Alexey Tikhomirov, basso tecnicamente imperniato sulla pastosità del registro centrale: con lui nella parte di Thoas, ognuna delle innumerevoli salite al registro acuto (acutissimo, per un basso autentico) si risolve nella disperazione di portamenti sforzati. Come dire che i miracoli fatti da Ildar Abdrazakov come Calchas nell’Iphigénie en Aulidemilanese del 2002, voli al Sol3 compresi, non andrebbero evocati lontano dalla santità manifesta: la prossima volta, a Ginevra cerchino il baritono che la scrittura vocale sottintende, e non l’emulo di Ramfis o del Padre Guardiano. Acutissima, secondo la tradizione francese dell’haute-contre, è anche la parte di Pylade, qui sostenuta da Steve Davislim con rotondità e morbidezza alle inevitabili soglie del falsetto.

    La regìa di Lukas Hemleb, le scene di Alexander Polzin, i costumi di Andrea Schmidt-Futterer, l’assistenza coreografica di Joanna O’Keeffe e le luci di Marion Hewlett procurano una realizzazione teatrale inedita e rispettosa di quella musicale. Nella ricostruita cavea megalitica di un teatro greco agiscono personaggi e masse tutti raddoppiati da una marionetta a grandezza quasi naturale e manovrata a vista. Ciascun attore-personaggio, con la fluida mobilità del proprio corpo, interloquisce così con il proprio raddoppio psicologico, fantoccio inespressivo e rigido nei movimenti, o con gli altri attori-personaggi ora fatti di carne e ora di legno. Non sempre si coglie la ragione dell’espediente, da intendersi innanzitutto come cifra del teatro di Hemleb, ma la straniata atmosfera creata nell’istante rappresentativo e la materia di libera riflessione a margine dello spettacolo rispondono puntuali all’appello.”
    Francesco Lora, L’ape musicale, 25 January 2015

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    07 Nov 14 BERLIOZ La Captive + La mort de cleopatre
    Barbican Centre

    “It was appropriate, too, that Berlioz, embodiment of the revolutionary and romantic spirits alike, occupied the rest of the evening. Anna Caterina Antonacci was a responsive and intelligent soloist in La Captive and La Mort de Cléopâtre, the two works showcasing how much colour and searchingly dramatic detail the Gardiner and ORR approach brings to such repertoire, never more so than in the spareness of the writing that follows Cleopatra’s death and which looks forward 80 years to Strauss’s Salome.”
    Martin Kettle, The Guardian, 9 November 2014

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    13 Nov 13 Era la notte
    Rose Theater, Lincoln Centre
    ‘A Madwoman Lets It Rip’
    “The extraordinary Italian soprano Anna Caterina Antonacci has concentrated her career in Europe. Each appearance she makes in America, like her New York recital debut last year at Alice Tully Hall, is coveted by opera fans familiar with her intelligent and charismatic artistry.
    So it was on Wednesday when an audience at the Rose Theater waited expectantly for Ms. Antonacci to present the American premiere of “Era la Notte,” a dramatic staging of four 17th-century Italian vocal works, lasting just over an hour and fashioned by this imaginative artist and the director Juliette Deschamps into a portrait of characters confronting love, abandonment, senseless combat and death.
    When Ms. Antonacci finally appeared onstage, she looked like a madwoman. That was the idea.
    The mood for “Era la Notte” (“It Was the Night”), presented here as part of Lincoln Center’s White Light Festival, was set by the musicians, soloists from the period-instrument orchestra Les Siècles, who played a subdued, dancelike passacalio by Biagio Marini. The simple set (by Cécile Degos) was dominated by a trellis in the rear, with rows of lighted candles. At the front of the stage was a shallow pool of water. Ms. Antonacci, wearing a rumpled cream-colored gown with gold embroidery, carried a bucket and some motley rags, like a fine lady who thinks herself a crazed washerwoman.
    She then began a lament by Pietro Antonio Giramo in which the singer portrays a woman driven to irrational despair by the affliction of love. In the text (with English translations projected in supertitles), the woman says that she lacks the words, the music, to explain her feelings. Only her fury can break through the confusion.
    The music is a classic example of the early-17th-century Italian penchant for exploring extremes of expression with vocal lines that alternately swoon, cry and sigh, and agitated instrumental writing. Ms. Antonacci eschewed conventionally beautiful singing to get at the emotional intensity of the music: longing, pain, even moments of futile fantasy.
    Selected instrumental pieces by Marini were used as transitions between the other vocal works. The second one was Monteverdi’s “Lamento d’Arianna,” which is the lament of the mythical title character, who has been abandoned by her lover, Theseus. Ms. Antonacci sang it with a real white bird sitting on her extended finger, seemingly entranced by the singing until she ushered it into a small cage.
    In the third piece, “Lagrime mie,” a lyrically elegant yet fraught vocal cantata by Barbara Strozzi, one of the very few published female composers from that era, Ms. Antonacci portrayed a man embittered by the indifference of the lovely Lidia.
    The riveting conclusion of “Era la Notte” came with Ms. Antonacci’s performance of Monteverdi’s “Combattimento di Tancredi e Clorinda,” an 18-minute tour de force from the composer’s Eighth Book of Madrigals. The piece tells the story, taken from Tasso’s epic poem “Gerusalemme Liberata,” of the Christian knight Tancredi, who falls in love with Clorinda, a warrior-maiden, a Saracen, who joins the Muslim forces.
    During a fierce night battle, Clorinda, dressed as a man, is fatally wounded by Tancredi, who is horrified to discover her identity. With her last words, Clorinda asks to be baptized by Tancredi, which, she has come to believe, will save her spiritual life.
    As performed by the arresting Ms. Antonacci, dressed in black pants and a shirt, wielding a sword, the metaphor of this work came through powerfully: love, especially when it involves breaching cultural differences, is the ultimate battle. The piece is mostly delivered in narrative lines by a character called Testo, with the dialogue of two lovers usually sung by two singers. Ms. Antonacci sang all the parts in her stunning performance. At the end, she collapsed into the pool of water, as real showers fell from above at the rear of the stage, snuffing out the candles.
    She must come back to New York. The Metropolitan Opera should invite her to sing any role in any opera she wants.”

    Anthony Tommasini, New York Times, November 14, 2013

    “Live from New York, it’s soprano Anna Caterina Antonacci! Lucky for us. Antonacci is considered one of those distinctive, uncategorizable singers who show up every once in a while to excite and inspire us, but never quite find the broader acceptance they deserve. Thus, she doesn’t sing at the Met and we have to hold on until performances like “Era la Notte,” which was on display twice last week at Lincoln Center’s White Light Festival. To say she captivated the audience would be an understatement.
    Masters of the early Italian Baroque
    “Era La Notte” is a performance piece created by Antonacci and director Juliette Deschamps, culled from music by early Italian Baroque composers: Giramo´s Lamento della Pazza, Monteverdi´s Lamento d’Arianna, Strozzi´s Lamento and, finally, Monteverdi´s Il Combattimento di Tancredi e Clorinda. (Transitional music is by Marini.)
    You can tell by the names of these songs that this is not a light-hearted evening. This is not the Baroque of trills and thrills, but one of lament-filled texts that call for (that overused term!) a “singing actress,” with the emphasis on “actress,” to bring them to life.
    Every nuance of the characters
    Antonacci has been doing this piece for going on 10 years and she knows every corner of the music. This is not singing that astounds with its beauty (in this music, anyway), but chills with its remarkable understanding of every nuance of the characters. Indeed, her nano-insights into the music are key to the great success of the evening–which lasts just over an hour but provides audiences with a sumptuous feast to chew upon. No one goes home hungry.
    It begins with a mad scene from Giramo that makes Donizetti’s Lucia seem lucid. The fragment of Monteverdi’s Arianna–whose lover has left her sola, perduta, abbandonata–is filled with incredible sadness. Antonacci switches gender for the Strozzi, where she portrays a man angered by his lover’s disinterest.
    Antonacci pulls out all the stops
    Finally, the soprano plays all the parts in Il Combattimento, from Monteverdi’s Eighth Book of Madrigals, a story of a Christian knight who accidentally kills his lover. Antonacci pulls out all the stops in this 18-minute monodrama about the downside of love, collapsing at the end in a pool of water, as the backdrop curtain of candles is doused (the scenic and lighting design and costumes by Cecile Degos, Dominique Bruguiere and Christian Lacroix, respectively, brought distinctive work that felt just right with the music.) The instrumental soloists of Les Siècles provided memorable accompaniment for Antonacci.
    Looking back, I might have wished for a few lighter moments to break the unabiding sadness, but I guess the characters portrayed don’t have much to smile about. Gazing out into the Rose Theatre, it was clear that the audience surely did.
    Hey, Mr. Gelb, how about bringing her to the Met? Maybe “Era La Notte” as part of a triptych with Poulenc’s LA VOIX HUMAINE and Schoenberg’s ERWARTUNG? (Okay, I’d settle for two.)”

    Richard Sasanow, Broadway World, 18 November 2013

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    12 Sep 13 BERLIOZ La Damnation de Faust
    Maison Symphonique de Montréal

    “Anna Caterina Antonacci, one of today’s leading operatic singing actresses, was incandescent as Marguerite. The longing of the ingénue in the “Roi de Thulé” aria, the rapture in the love duet and the despair in “D’amour l’ardente flame” made one wish the work was more about Marguerite than about Faust.”
    Ossama el Naggar,, 12 September 2013

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    22 Aug 13 WAGNER BBC Proms
    Royal Albert Hall

    ‘…Antonacci’s effortlessly powerful voice gathered together Wagner’s complex but subtle orchestrations and took them to another level. This is how voice and instruments should sound, a perfect blend yet thrillingly individual.’

    Jeffery Taylor, The Express, 25 August 2013

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    09 May 13 Recital 09 May 2013
    Wigmore Hall

    “Perhaps because of its unusual scoring for mezzo-soprano and string quartet, Ottorino Respighi’s setting of Shelley’s poem The Sunset, translated into Italian as Il Tramonto, doesn’t get many outings. With the Heath Quartet in attendance, it formed the end point of this Wigmore Hall programme by Anna Caterina Antonacci, whose repertory includes soprano and mezzo roles, which she sings with equal success.

    Antonacci is an exceptional artist in other respects. Simply but suavely dressed, she took command of the platform through natural presence rather than the exploitation of approval-winning effects. In her performances themselves, she drew the audience into a space where all that mattered was the unadulterated revelation of the words and music as one fused entity. She acted each song with facial expressions and minimal yet telling physical gestures, but above all with the extraordinary resources of an instrument she could fine down to a thread or soar on to magnificent heights.

    Il Tramonto proved a good vehicle for her deeply considered yet apparently spontaneous artistry, its concentration on love and mourning allowing her to shade in the darker hues of her multicoloured tone. The Heath Quartet players supported her with refinement, drawing out all the subtlety of Respighi’s expert writing; earlier, they contributed a witty account of Hugo Wolf’s Italian Serenade and a delicate one of another elegiac study, Puccini’s Crisantemi.

    The bulk of the programme was accompanied with a blend of concentration and flair by pianist Donald Sulzen, who proved as adept in conveying the lucid textures of Debussy as in the quasi-orchestral flamboyance of Wagner’s Wesendonck Songs. Meanwhile, in her presentation of the ambiguity of Debussy’s intimacies, as well as in Wagner’s grander, operatic manner, Antonacci was more than equal to every demand.”

    George Hall, The Guardian, Friday 10 May

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    20 Feb 13 POULENC La Voix Humaine
    Grand Theatre de la Ville, Luxembourg

    Read a full interview with Anna Caterina on her role in La Voix Humaine
    Philippe Banel, Tutti Magazine

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    30 Sep 12 Queens, Heroines and Ladykillers
    Royal Festival Hall

    “A great artist, Antonacci has the ability to immerse herself completely in whatever she sings, so that even in extracts we are acutely conscious of an absolute totality of characterisation.”
    Tim Ashley, The Guardian, 03 October 2012

    “[Anna Caterina] gave an engrossing and impassioned rendition of Dido’s farewell from Berlioz ‘Les Troyens’ and as an encore, Carmen’s Act II ‘Les tringles des sistres tintaient’ that was undoubtedly the highlight of the concert.”
    Jim Pritchard, Seen and Heard, 02 October 2012

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    03 Mar 12 North American Recital Tour
    Fayetteville, Montreal, New York and Washington D.C.

    “…This was no diva showcase but a thoughtful program of French and Italian songs mostly from the Belle Epoque […] Her voice has a distinctive timbre: rich and warm yet focused and clear. She is comfortable at both ends of her range, whether cresting to soft, lingering high notes or dipping to dark, velvety lows. But it is what she does with her voice that makes her such a riveting artist. In ‘En Sourdine’, her singing found an uncanny balance between intense expressivity and magisterial elegance…”
    Anthony Thompson, New York Times, 09 April 2012

    “Inhabiting each song like the sole character in a minature drama and molding the vocal lines with considerable freedom, her voice took on added richness and vibrancy, and she proved mesmerizing in evoking the heartbreak and erotic frankness of the texts […] Her vivid engagement with the words and complete immersion in the psychological life of Ottorino Respighi’s songs ‘Sopra un’ aria antica’ and ‘Nebbie’ revealed an incomparable artist at work. Even her encore of ‘Moon River’ was so artfully done, it made one yearn to experience Antonaccci in fully staged opera…”
    Joe Banno, The Washington Post, 12 April 2012

    …Antonacci’s greatest strength: a rare ability to unite words and music with poetic insight and visceral drama. The music making was potent. Demonstrating a keen musical intelligence and a sensitivity and commitment to the material, Antonacci sang with crisp diction, impeccable taste, dramatic urgency, and a resonant middle register […] her voice was a singularly and freely expressive instrument, particularly when coupled with her graceful yet naturally commanding stage presence, and the songs often took on an intimate yet powerfully personal quality. […] From the all-Italian second half of the program, most memorable were the five songs from Respighi and Refice’s ‘Ombra di nube’, all sung with exquisite phrasing, greater control of her upper register, and an expert sense of vocal drama…
    DC Metro Theater Arts, 13 April 2012

    …In regards to her formidable singer-actor expertise, she appeared to “like” herself on stage as opposed to “loving” herself onstage. The ‘message and the music’ always remained more significant than the ‘messenger’. There were no comedic rolling eyes, no over rehearsed grand gestures, no startling caesuras. Instead, there was perfection: a beautiful woman, a gorgeous voice, a sensitive piano accompaniment and a performance that, from start to finish, was honest, admirable, intelligent and endearing. A performance in which she, after more than two and a half hours, keft her audience screaming for more. Perfection, after all, has its rewards.”
    The City Wire, Arkansas, 05 April 2012

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    05 Dec 11 Recital: 05 December 2011
    Wigmore Hall

    “…The voice, a dark lustrous instrument that can be soprano or mezzo with equal ardour, is clearly in magnificent shape. The histrionics are undimmed but never unhinged: this is a thinking artist, not a sulky diva. And the appetite for adventure is still sharp. This recital delved into the rarer realms of French and Italian romantic art-songs with enchanting results. […] Antonacci never made the mistake of larding sentimentality on already overripe material. Just as Respighi, in his Sopra un’aria antica, contains the explosive passions of Gabriele d’Annunzio’s poetry within a limpid, quasi-Baroque world, so Antonacci emotes from within a pristine technique. Her legato line is a liquid wonder, but when the poem requires a conversation to be animated, she characterises each voice in a marvellously deft parlando. Nowhere was her control and imagination better demonstrated than in the last bars of Cilea’s Nel ridestarmi: a stunning leap to a top note; a Callas-style glissando to the depths, and still enough power to ping the last note like an arrow in the heart. […] The five songs of Reynaldo Hahn’s Venezia are wry love-serenades written to be sung on a gondola, by a man. Antonacci is clearly not a man. Yet she simply ignored these circumstantial barriers and infused them with wit and warmth. Finally she mustered her lushest sound for a gloriously sustained unfurling of Licionio Refice’s Ombra di nube…”
    Richard Morrison, The Times, 07 December 2011



BERLIOZ La Damnation de Faust
BERLIOZ Les Troyens (Cassandre)
BIZET Carmen
BRITTEN Gloriana
FAURE Pénélope
GLUCK Armide
GLUCK Alceste
GLUCK Iphigenie en Tauride
MASSENET Don Quichotte
MASSENET Werther (Charlotte)
MONTEVERDI Incoronazione di Poppea (Poppea and Nerone)
OFFENBACH La Grande-Duchesse de Gérolstein
OFFENBACH La Périchole
PAISIELLO Nina pazza per amore
POULENC  La voix humaine
RAVEL L’heure espagnole
WOLF-FERRARI Il segreto di Susanna


BERLIOZ Les Nuits d’été
BERLIOZ La Mort de Cleopatra
BERLIOZ La Mort d’Ophelia
CANTALOUBE Chants D’Auvergne
CHAUSSON Poeme de l’amour et de la mer
CHERUBINI Stabat Mater
de FALLA Canciones Populares
MARTUCCI Canzone dei Ricordi
PERGOLESI Stabat Mater
POULENC La Voix Humaine
RAVEL Sheherazade
RESPIGHI Il Tramonto
ROSSINI Stabat Mater
ROSSINI Petite messe solennelle
WAGNER Wesendonck Lieder



Watch an interview with Francesca Pedaci and Anna Caterina from November 2020 here.


Read an interview of Anna Caterina with Rocco Zacheo for the Tribune de Genève ahead of her role debut in Médée at the Grand Théâtre de Genève. Find the article here.


Operawire feature Anna Caterina as their Artist of the Week ahead of her role debut as Elizabeth I in Britten’s Gloriana at Teatro Real in Madrid. Read the full article here.

Julian Sykes interviews Anna Caterina for Swiss Journal, Le Temps about her role in Iphigenie en Tauride at the Grand Theatre de Geneve. Click here to read the full article in French.

Eric Myers interviews Anna Caterina for the ‘Road Show’ column of May’s issue of Opera News. They chat about Paris and why its her favourite place to go when she’s not working. Click here to read the full article.

To read an article on Anna Caterina Antonacci’s Royal Opera House ‘Carmen’ please click here.

7 filles de Callas

Read a profile of Anna Caterina Antonacci in the New York Times from 2012 here.