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Biography  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 f...read more

Representation details:

Askonas Holt

Biography  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 f...read more

Representation details:

Askonas Holt
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  • Repertoire (27)
Composer & WorkRoleProductions
Bellini
I Capuleti e i MontecchiRomeo2
No role1
NormaAdalgisa1
Berio
OutisNo role1

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Reviews

A critic once opined that there was nothing more beautiful than watching Anna Caterina Antonacci suffer; to that, I add that there is nothing as irresistible as watching her flirt. 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. Though the voice perhaps has lost a bit of its sheen over time, Antonacci’s customary textual acuity and charismatic stage presence made the strongest possible case for these unjustly neglected works.
Kevin W Ng
Some changes of the announced cast also ensued, with tenor Ramón Vargas pulling out at a late stage allegedly because of ill health. His place was taken by the young Belgian tenor Mickael Spadaccini, who was previously programmed for the second cast. And in his place came Gustavo López Manzitti, leaving Juventus Lyrica to fill by similar process the title role for its production of Andrea Chénier De Ana, responsible for lighting and costumes as well as the sets and direction, gave a period setting to the work, but the openness of the scenery along with its greyness, belied the intimacy it should have had. Spadaccini’s youthfulness is appropriate for the role, and he is a powerful singer, well expressing the emotions of this obsessive character, although not always even in his delivery. In contrast, Hernán Iturralde came across both visually and vocally as an Albert maturer than his 25 years. The young French mezzo Clémentine Margaine replaced Ana Caterina Antonacci in this last production, her voice powerful and rich – and a singer who surely we will be hearing a lot more of in the future. Laquelina Livieri was well cast as Sophie, with her crystalline voice appropriate for her character’s 15 years. And Alexander Vassiliev also was a suitable Bailli, as were the other smaller roles. Ira Levin was once again on the podium, bringing power and depth to the score.
Jonathan Spencer Jones

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