Customer Reviews

Cecilia Bartoli - Live in Italy

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The first known indoor theatre, Palladio's final achievement, completed in 1580, Teatro Olimpico in the northern Italian city of Vicenza, becomes the sheltering site for this tremendously pleasing recital by acclaimed lyric coloratura mezzo-soprano Cecilia Bartoli, accompanied by the masterful pianist from France, Jean-Yves Thibaudet, and an ensemble that specializes in previously uncovered pieces from the late Baroque musical era, Sonatori de la Gioiosa Marca. The latter group is on board for the five opening selections, while Thibaudet is at a splendidly toned and tuned Steinway during the succeeding twenty, along with an additional five encores to please an alert and well-behaved audience that plainly is willing to disregard less than comfortable seating in order to enjoy the carmine-gowned youthful singer's eloquent renditions of infrequently heard items honoured by her increasingly hale voice. Stylishly directed and edited for video in tasteful fashion by Brian Large, the film's camera eye frequently focusses upon the elegant theatre itself, exquisitely designed by Palladio to late 16th century aesthetic touchstones of balance, and cunning application of space, having as well an ancillary advantage of crystalline acoustical quality that serves well the highly popular Bartoli, whose musicological scrutiny of lesser known Baroque compositions is apparent throughout the program. A first-rate potpourri is offered by the adept recitalist and Rossini specialist, not so much being accompanied by Thibaudet but rather partnered with him for an ensemble described by this repetitive collaborator of Bartoli as one involving conversation, i.e., he offering a phrase, she in turn answering. Among highlights of this sublime production at its historic setting are: the opening three pieces by Giulio Caccini; a deceptively emotional performance of Handel's Lascia la Spina; Un Moto di Gioia from Mozart's Le Nozze di Figaro; a strikingly rendered Mio Ben Ricordati (Schubert); Berlioz's Zaide, for which the mezzo displays her competence with castanets; an intense Amore e Morte (Donizetti); and amid the encores - - Voi Che Sapete (Mozart's Figaro again); the lovely Caro Mio Ben (Giordano); Canto Negro (Montsalvatge); and a showpiece of Bartoli> the Seguedille from Bizet's opera Carmen wherein she adds a few flamenco steps. A gratifying addition within both the VHS and DVD versions is an informative booklet that contains a valuable description of this musical event, contributed by British music reviewer Andrew Stewart. In sum, this is a high-grade production in all respects.

I was so happy when this concert was first aired on PBS in 1999. For me, Cecilia is one of the brightest, most energetic, and beautiful mezzo sopranos around today. This concert represents her versatility and charisma as a performer.

It is hard to say what the highlights of this concert are. She sings all of the songs with so much expression, juice and enthusiasm. I loved her aria from Bizet's Carmen where she became that bewitching gypsy from the tobacco factory. I hope opera producers and directors were watching that! She would make a wonderful Carmen for the new generation of divas. I also loved her interpretations of Mozart, Rossini and all of the French songs. Cecilia can bring tears to your eyes or a great smile to your lips. She has you at "Buona Sera." Don't miss this treat.

Cecilia Bartoli is arguably the most promising coloratura mezzo-soprano on the world stage today, and this videorecording clearly highlights the Rome native's talent. The neoclassical setting and brilliant acoustics of the Teatro Olimpico in Vicenza, Italy complement her repertoire, but ultimately it is Bartoli's passion for the music that makes this video worthwhile, and worthwhile it is. I enthusiastically give it five stars.

Birds and Goddesses have every right to be envious of this woman's ability to express emotion through song. Men have every right to be seduced by her powers. Her dark hair and dark brown and bright eyes reflects all that is good in the world. Every sylable she sings surrenders to such beauty as to make me believe there is a wise and just God, and a God who loves song.

Here in Teatro Olimpico, a masterpiece of an architectural genius of Andrea Palladio, we hear another genius singing; artists compliment each other, and it seems as it is exactly for such extraordinary musicians as Santa-Cecilia Bartoli that this theater was built in 1580 in the elegant city of Vicenza, a faithful satellite of La Serenissima, yet proudly boasting her own beauty. This DVD brings us to a marvelous concert, which, thanks to the magic of technology, can be viewed and heard over and over.

Indeed the theater is of the perfect size to make Cecilia Bartoli sound her best. I was so pleasantly moved by her performance here; she was once giving a recital in Boston Symphony Hall, but perhaps that was too spacious to accomodate her voice, which for all its beauty is not too large.

In Teatro Olimpico we can see and discern every nuance in her outstanding performance. Her total vocal control, from volume to tuning, her thrill, her diminuendo and pianissimi are astonishing. Being a mezzo-soprano, she takes on singing some soprano parts in this concert, and then it is interesting to compare her sound with sopranos. One especially interesting aria here, "Agitata da due venti" from Vivaldi's Griselda, is also sung by Simone Kermes in her all-Vivaldi CD "Amor Profano":

Amor Profano - Vivaldi Arias

It is sung in exactly the same key, B-flat major, and you can compare two virtuosas - naturally, Bartoli's mezzo voice sounds heavier; she is somewhat slower than Simone Kermes (an extraordinary virtuoso), but perhaps more expressive, especially in the middle section of the aria, where she seems to add her own embellishments to showcase her miraculous voice. I absolutely admire Simone Kermes, but apart from her advantage of having a more unique and beautiful voice - soprano - it will be hard for me to decide who takes the laurel wreath with this great victorious piece, whose triumphant sound and tempo seem to symbolise the victory of Vivaldi's genius over crude force of Venetian aristocracy expressed in prominent Venetian aristocrat Michiele Grimani commissioning "Griselda" from the composer in 1735.

There is also another recording with this aria - the whole Criselda opera, with soprano Veronica Gangemi singing Constanza, i.e. the role of this aria. However, this soprano singing is inferior to Bartoli's mezzo execution; perhaps because Jean-Christophe Spinosi's conducting style, which is always so extremely rushed:

Vivaldi: Griselda (Vivaldi Edition)

Another interesting discovery is another aria for soprano "Lascia la spina" from Handel's "Il Trionfo del Tempo e del Disinganno" (1707). One can appreciate Bartoli's desire to be different by choosing such a universally-loved melody which would soon be borrowed by Handel himself for his ubiquitous "Lascia ch'io pianga mia cruda sorte" for his opera "Rinaldo" (1711). Handel's must have been so lazy that he did not even bother to change the key - both "Lascia la spina" and "Lascia ch'io pianga" are in E major, or rather, the A-section of this da capo aria starts in E major key, changing in B section. Cecilia Bartoli sings ""Lascia ch'io pianga mia cruda sorte" in her CD recording with Christopher Hogwood in this key, E major - the key used by every other soprano:

Handel - Rinaldo / Bartoli, Daniels, AAM, Hogwood

It is the same key E major in which Natalie Dessay sings "Lascia la spina" in "Il Trionfo":

Handel - Il trionfo del Tempo e del Disinganno

and it is very alluring to compare soprano Dessay singing this aria with Bartoli on this DVD. One discovers then that for some unknown reason Bartoli sings it here in F major key, and it is not clear if it has any major significance.

Yet again, as with Simone Kermes, this competition with a soprano as Natalie Dessay is not lost to say the least - Bartoli has something very special in her singing, something that a very few possess, and it is not just flawless virtuosity, but exceptional sensitivity and expressiveness without exaggeration; an ability to blend into the character of the piece and deliver the slightest nuance of the character's emotion.

And another extremely interesting piece is a variation on "Mi lagnero tacendo" - an aria of Laodice from a libretto to the opera "Siroe, Re di Persia" on the text by Pietro Metastasio. Frankly, I think it would add immensely if Bartoli had sung this aria from Handel's opera (although there hardly was any contemporary composer then who did not write music on this libretto). That would allow to compare Handel and Rossini rendition of the same text. On a side note, the text of this aria in Siroe libretto of the below recording:

Haendel - Siroe, Re di Persia

is somewhat different from what Bartoli sings, but maybe it was modified for Rossini - the enigma is - which is a true Metastasio text, though... In the Handel's recording, Sunhae Im sings the aria, and I must say the thrilling soprano voice is a delight, although it is difficult to compare because the music is too different between Handel and Rossini. We can see unequivocally how Bartoli changes in a second to express from extreme despair to utter clownade - she is perhaps as great an actress as Natalie Dessay, only that she cannot be a ballerina - although she seems to be daring enough in doing anything to please the audience, so maybe one day she will try to dance, as Natalie does.

There are many more arias on this DVD, post-baroque period, one of them is composed by Pauline Viradot, a sister of a famous soprano Maria Malibran, in whose honor the recent Teatro Malibran is named our days in Venice, and it is the same theater that in Vivaldi's days was called Teatro San Giovanni Crisostomo, belonging to the same Grimani family that owned Teatro San Samuele, where Vivaldi's Griselda was premiered.

On this Venetian serene note I finish this review, with a must-have recommendation for this outstanding performance.

Cecilia is an excellent performer and she leaves no doubt in this performance. Add this awesome performance with the venue (teatro Olimpico in Vicenza) just adds to the overall enjoyment. She sings mostly Italian music in this concert and from different eras. She shows talent, artistry and excellence. A must-see for any Cecilia fan.