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That voice on the other end, which we never hear, is her lifeline. Poulenc was no stranger to depression and rejection. He wrote La Voix, his final opera, while separated from his lover (the protagonist is more or less myself, he later explained), and he gives the singer an enormous emotional spectrum ranging from ennui and anger to sorrow and utter despair. Antonacci has delivered memorable performances in San Francisco Opera mainstage productions in recent years her searing portrayal of the Trojan prophetess Cassandre in Berliozs Les Troyens was simply unforgettable and she is at home in the French repertoire. Saturdays performance demonstrated her ability to fully inhabit a character as well as her mastery of Poulencs one-of-a-kind score. 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. CORY WEAVER/S.F. OPERA
Italian soprano Anna Caterina Antonacci inhabited the anguish of a rejected
lover in her superb performance of Poulencs La Voix Humaine for SF Opera
Lab. Originally scored for voice and orchestra, La Voix Humaine is presented here in Poulencs own piano version, played with precision and sensitivity by American pianist Donald Sulzen. The production is simple but effective.
For the original version including any supplementary images or video, visit http://www.mercurynews.com/2017/03/12/antonacci-thrills-as-the-spurned-woman-in-poulencs-la-voix-humaine-at-sf-opera-lab/
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