Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Anna Caterina Antonacci

Each of the works are particularly radiant in themselves, but made even more so as they were presented here.

Two different variations of the female conditions: one of 1909 and now utterly out-of-date, the second of 1959 much more ut-to-date.

Ivor Bolton and David McVicar have teamed up to create an unapologetically Brittenian Gloriana, with Anna Caterina Antonacci at the top of a great cast

One wonders why Emma Dante's concept, which explores the plight of women crushed by romantic catastrophes, is not done more often.

Antonacci's voice shines even in the art songs that pad out the evening, but it's Poulenc's one-act opera that gives San Francisco Opera Lab's current offering dramatic weight (and makes it worth seeing).

Beczała's "Pourquoi me réveiller" stops the show in Willy Decker's thoughtful Werther at the Liceu, expertly conducted by Alain Altinoglu.

Marco Tutino's Two Women at San Francisco Opera feels lacking in musical originality and its out-of-date accompanying taste of re-heated Italian verismo comes a little over-cooked.

Released from the Covent Garden pit, the Orchestra of the Royal Opera House enjoyed its moment on the stage, breathing in the sea breezes of Ravel and Chausson, strutting its stuff in Bernstein and basking in shimmering Scriabin.

Anna Caterina Antonacci's rare appearance in New York was another rewarding occasion to savor, with a recital of French songs followed by an unforgettable performance of Poulenc's La voix humaine.

A traditional, reassuring production of Bizet's popular opera, without any odd staging ideas. 

A sensational finale to Beethoven's Fifth concludes the Orchestre Révolutionnaire et Romantique's 25th birthday concert, following a fine display of vocal excellence by Anna Caterina Antonacci.

Italian soprano Anna Caterina Antonacci, a darling of the Parisian opera stages, puts on a fine display of her vocal range on the occasion of the American première of her production titled Era la Notte (in English translation, “It Was Night”). Originally staged in 2006, this performance is being presented in New York as part of the White Light Festival at the Lincoln Center.

The Rotterdam Philharmonic Orchestra's arrival at the Proms with their musical director Yannick Nézet-Séguin was popular, selling out seats and drawing a full arena crowd. There was an atmosphere of anticipation for a famously enigmatic conductor and a colourful programme. The concert didn’t disappoint with its marriage of Tchaikovsky and Wanger, and the cryptic Symphony No.

The packed hall at the Opéra de Bastille was in for a particularly interesting evening as they arrived for the Opéra National de Paris’ newest production of Bizet’s Carmen. This is an important event that brings out both the regular opera-goers and Carmen lovers, and those curious enough to buy a ticket to see the company’s latest creation.

David McVicar’s production of Berlioz’s opera Les Troyens at the Royal Opera House last month was notable for several reasons. Firstly, stellar vocal performances from world-class lead singers; secondly, brilliant acting; thirdly, ravishing music; and lastly, a memorable set – including a curious giant horse and human made out of what looked like scrap weapons and tools.

It's one of the most famous, most studied, most archetypal passages in epic poetry: in Book I of Virgil's Aeneid, the Trojans, exhausted from their voyage and desolate at the loss of their city, gaze down on the city of Carthage as it rises from the African soil, its people scurrying like worker bees in their manifold tasks.

This Easter, New Yorkers had a rare chance to hear soprano Anna Caterina Antonacci in Alice Tully Hall. It was only Antonacci’s second appearance in the city, but based on the warm welcome she received from the audience, her reputation preceded her. And by the end of this outstanding recital, it was clear that the city has been missing out on her artistry.

Ravel is one of those composers who seem to slip through the cracks sometimes. I myself am guilty of letting this happen – I know that I like Ravel’s music but often forget how magical it really is. After tonight’s concert, however, I am sure that I’ll never forget this again.

Performing works by Maurice Ravel and Hector Berlioz Wednesday night, the London Philharmonic Orchestra (LPO), conducted by Yannik Nézet-Séguin with guest soprano Anna Caterina Antonacci, captivated audiences with both charming, childlike prose and chilling orchestral music.