Anna CaterinaAntonacci

Press

• Medea (Benda)

  Auditorium Niccolò Paganini, Parma

  Feb 2024

  • [...] a incarnare Medea c’era l’arcidivinissima Anna Caterina Antonacci, le cui rare apparizioni sono sempre epifanie gloriose [...] [translated] [...] to embody Medea there was the archdivine Anna Caterina Antonacci, whose rare appearances are always glorious epiphanies [...]

    • Alberto Mattioli, La Stampa
    • 11 February 2024

• Dialogues des carmélites (Poulenc)

  Teatro dell'Opera di Roma

  Oct 2022

  • Faced with this very great performance stands, legendary, mythical, that of Anna Caterina Antonacci: it is impossible not to be crushed by this incredible vocal personality. The particularly elaborate staging of the great scene of agony must be read here as a highlighting of a kind of monument. A monument to expression, to moving accents, to the truth of an incarnation that leaves you speechless. She knows how to work on the flaws of a voice which obviously also shows the outrage of the years, and turns them into incredible assets.

    • Guy Cherqui, Wanderer
    • 15 January 2023

  • Great protagonist of the scene, Anna Caterina Antonacci in the guise of the Prioress Madame de Croissy. Antonacci brought the immense baggage of her infinite career to the internship and was able to face a complex character like that of the Prioress with profound awareness. Furthermore, she did not bother to hide the harshness of a vocal instrument that was no longer very young, thus making her interpretation even more realistic: the discrepancies between the registers, so demonized in the bel canto works, made the inner conflicts of the Prioress more obvious, leaving the audience literally struck by the scene.

    • Eleonora Cipolla, Opera Libera
    • 04 December 2022

  • Anna Caterina Antonacci plays Madame De Croissy, the prioress of the Carmelites who will die from the terror of death itself. Although the role is for contralto, her performance, too, was excellent both from a vocal and (perhaps above all) scenic point of view. The finale of the first act is certainly one of the most engaging moments of the entire opera, and the Italian singer did not disappoint.

    • Tiziano Virgili, Opera Gazet
    • 08 December 2022

• Recital with Francis Libetta

  Festival Della Valle D'Itria

  Jul 2020

  • In Antonacci's singing, everything is meaningful, every phrase finds its rightful place in the narrative. Antonacci's singing is made of intelligence and exploration, unique, highly personal and fascinating… Triumphant success and the unexpected encore: Carmen's Habanera as never heard before; Antonacci attacks in pianissimo and maintains a collected intimacy that captures the true nature of the music and the character to the end.

    • Alessandro Cammarano, The Musical Salon
    • 31 July 2020

  • Antonacci captures the tragic nature of the two women and expresses it with an inner strength that grabs the spectator by some mysterious magnetism that cannot be explained. Seemingly she does nothing special, but she does it very well, she is essential and simple, without a grain of superfluity creeping into that essentiality.

    • Mauro Mariani, Giornal della Musica
    • 31 July 2023

  • Anna Caterina Antonacci agreed to an encore, the Habanera from Carmen, which she sang by distilling it with ease giving the piece a devastating force making the audience go wild. Strange choice, one might say, for Carmen is the one who gives up! But at the time, could one reason? Antonacci’s magic had worked again!

    • Maurice Salles, Forum Opera
    • 04 August 2020

• Il signore delle formiche

  (Film)

  Sep 2022

  • Anna Caterina Antonacci: 'What a joy to get out of the comfort zone'. “Debuting in cinema was madness, but recklessness paid off” says the opera singer who, after the parenthesis of “The lord of the ants”, opens the season of the Rome Opera. And here she tells her journey, including the moment "On the old farm".

    • Interview with Maria Laura Giovagnini, IO Donna
    • 22 October 2022

• Recital with Donald Sulzen

  Wigmore Hall

  Feb 2020

  • With a sly smile and a knowing wink, Antonacci had her audience in the palm of her hand within her first few sentences. Not that her program was an audience-pleaser by any means, understood 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.

    • Kevin W Ng, Bachtrack
    • 19 February 2020

• La voix humaine (Poulenc)

  Teatro Petruzzelli, Bari

  Oct 2019

  • 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.

    • Eraldo Martucci, Opera Click
    • 31 October 2019