What can anyone say about Anna Caterina Antonacci that hasn’t been written over and over again over the last twenty years. On Sunday night she proved to be one of the finest dramatic singers of our times. Dressed in a gorgeous silk crepe dress in darkest charcoal, resembling molten rubber in its movement and pearl jewellery she looked every inch the diva.
Anyone starting a programme with Medea’s Act One aria is asking for trouble and indeed she did sound not fully warmed up and an aria of such emotional depth that makes demand from the widest extents of the singer’s range is a risk. Of course what makes Antonacci such a supreme artist is her sense of danger, her magnetic sex appeal and her consummate attention to the material at hand. Her ability to switch on to the character in seconds from the musical introduction is astonishing at close proximity, her eyes flaming with the rage of the abandoned woman who comes to claim Jason as hers. One is incapable to take their eyes off her, the fresh sounding OAE created the perfect conditions for Antonacci to weave her spell with this most favourite of arias. Her delivery may not have been as smooth as could have been but Cherubini’s intended vim and brilliance were there in abundance.
The biting command of the character and reality she brought to it continued in her other arias. Having portrayed two of the characters on stage before must have been a great help for her.
O malheureuse Iphigénie was deeply moving with her singing caressing the delicate playing of the orchestra. Once more her incisive singing, paying attention to every single word was simply wonderful. Many a singer can get on a concert platform and do a diva approximation, Antonacci embodied the grandeur of Gluck’s tragedy with such decorum and charisma. Proving what a rare commodity she really is.
After the interval she sang Didon’s last aria from Les Troyens Je vais mourir… Adieu, fière cité and while she may not have the smooth plush sound that Eva-Maria Westbroek spoilt us with, in the recent staging at the Royal Opera, she brought an immaculate presence and sense of drama and precision to the text. What she did for Cassandre at Covent Garden she pretty much repeated on a concert platform for Didon. A perfect example why I am unhappy tolerate inadequate acting on the operatic stage, a pretty sounding voice and immaculate technique are never enough, especially when a theatrical dynamo like Antonacci is gracing stages worldwide.
Her encore was Chanson Bohème from Carmen (a great lead into the Bizet symphony that followed) and again her vibrant characterisation and passionate delivery was short of astounding. An instant reminder of her past as the seminal Carmen of the last 15 years. And again the transition from distraught queen of Carthage to furious gypsy was instantaneous and complete. This was seriously an evening not to be forgotten.
Of course you will ask how was the Haydn and the Bizet and I will tell you very good as the Orchestra of the Age of Enlightenment is too professional to be dragged down by Roger Norrington’s barely there conducting. I am afraid the Haydn conducting consisted of the nation’s favourite conducting granddad in his nightgown dancing embarrassingly to every change of tempo and subtle nuance. It maybe would have been better to try to bring together the different parts of the symphony instead of giving us the Norrington show which was excruciating. Instead of maybe having the score for both pieces he was just reduced to a strange acrobatic act. Interestingly when a score was produced for the arias and the dances by Gluck the conducting was a bit more focused and the orchestra responded accordingly.
The orchestra acquitted itself with some deliciously French sounding playing with oboes creating the colourful backbone for Gluck and Cherubini, while Lisa Beznosiuk’s flute playing was a constant source of joy, particularly in the second movement of the Haydn. They were also helped by the more resonant acoustic of the hall, since the organ loft was open (with half the pipes still away for restoration) adding much-needed reverberation.
I wonder if the acres of empty seats inside the Royal Festival Hall can be attributed to Norrington or just that on a Sunday night Londoners are not prepared to get out for one of the greatest singers of our times? Whatever the reason, it was a shame for her to have to look out at a half full auditorium.
Looking forward to the second instalment of the series next month with the beloved Sarah Connolly …thankfully this concert takes place at the smaller, nearby, Queen Elizabeth Hall.
And on a shamelessly commercial level…I would urge everyone to get a copy of this just released song recital from the Wigmore Hall.
Antonacci in action