Customer Reviews

Cecilia Bartoli: The Vivaldi Album

5 star:		(31)
4 star:		(7)
3 star:		(2)
2 star:		(1)
1 star:		(1)

 

 

I was amazed with this album of super fine music. I had known all my life that Vivaldi wrote tons of operas, but finding them, or the scores of them, was nearly impossible. In time I found a few, and was I ever amazed and disappointed. The published scores that were available were what was common practice of that time: there were the vocal lines and a figured bass and nothing more. There were no indications of orchestration. Even with that little bit, I was shocked with the intensity and complexity of this vocal writing. This man knew how to write for the voice. Until singers are willing to research his works, we, the public, will know him for a very orchestra suites and nothing more. The result will be a very stilted view of what the man had to offer.

Now getting to the performance by Bartoli. She really loves this music, as you can tell. Yes, she is mannered in some of the things she does, but that is her way of seeing the music. Her technical skills are amazing, and her interpretations (the "drama" behind the music) is just as intense. Some think Bartoli has a strong voice. Actually, her voice is very small, if you have heard her in performance (they weren't even sure she would be heard when she sang at the Met), and it has a very delicate quality, even when being "brash." Recordings give you the impression she has a much larger sound than she does, but that is because small voices record truer and better than large ones (the industry still can't capture large voices at all). However, even with a small voice, in performance she is breathtaking. She makes the music live. She has weird mannerisms one sees that to American trained singers are completely unacceptable (weird facial expressions, strange things done with he mouth and teeth, head bobbing, etc), but that has never distracted from her overall intensity. Yes, she is intense. You are literally taken away with her interpretation, and her skills. Interestingly, she is more famous in music circles for her cancelations (she cancels more performances in a year than she actually sings). I love this recording, not only because of the music, but because I have seen her sing some of this music live. She really LIVES what she sings, and that comes across in this recording.

A special note: in the little booklet that comes with the recording, Bartoli herself writes her impressions of this music. It is extremely insightful. Whether you like her or not, you have to admire the work she has done to make this music live and be as authentic in interpretation as she can. It is her love of this music that has caused her to record this album. I am thankful she did, for now, I can take those old scores I have and get a better understanding of what the composer was doing. Would that more singers would explore new/old works, and I think it would be far more interesting to have them write their impressions of the music they are singing than the standard academic essays we must read. Reading about how she came to this music, in her own words, gave a different dimension to listening. Now I was listening to see if she was successful in communicating what she felt this music had to offer. SHE WAS.

Like all Bartoli fans, I was ready for some fairly remarkable things when first informed, more than two years ago, that the "Vivaldi" project was in the works. Cecilia's inspired treatment of "Agitata da due venti" on the "Live in Italy" album. Nothing, however, could have prepared me for the journey in store on this CD. The familiarity, (thematically, at least) with the opening number,"Dell aura al sussurrar" only begins to open the door to vistas even dedicated Vivaldi lovers had never seen. Proceeding through the set, which, by the way, includes no fewer than SIX world premiere recordings, Cecilia stuns with the rapid-fire coloratura of "Sventurata navicella" and "Anch il par mar sommerga", brings her luscious, focused sound to "Zeffiretti che sussurate" and "Dite oime", and in between, brings to life songs which, while never achieving the poetic heights of those by some other composers, nonetheless provide a musical challenge which only a singer of Bartoli's particular talents (or perhaps someone like Natalie Dessay?) could surmount. Having had the good fortune to see her do most of this set live in Boston in October,2000, I find the comparisons between the live recital performance and this ablum inevitable but the recording, benefiting from the virtuosity of the musicians of Il Gardino Armonico, is more satisfying sonically. No one can match Cecilia Bartoli for sheer excitement on stage, her charisma is unmatched, but this CD is as close as one can get to actually being there for one of the most exciting performances in recent memory.

Since I prefer music which was composed before 1750, I was very glad with the purchase of Cecilia Bartoli's Vivaldi album. Although this disc is definitely an interesting and wonderful recording, it's not without its flaws. Cecilia Bartoli presents here to the listener a compilation of Vivaldi's neglected opera arias. Ms. Bartoli's treatment of these arias [which she has researched herself] is certainly fresh and appealing. For the singer and her listener this music is certainly demanding. The music requires of Cecilia Bartoli to go from rapid fire passionate outbursts to tender pianissimo's.

The listener should further take into account that the composers of the Baroque period were certainly not above re-using music scores. This disc provides the listener with two clear examples of such practices. In the first aria 'Dell'aura al sussurrar' we hear the beginning of the 'Spring' concerto of 'The Four Seasons' and in 'Gelido in ogna vena', music from 'The Winter' was used. Cecilia Bartoli's interpretation of these pieces is heartfelt, passionate, intense and tender [she's certainly well-matched with Vivaldi's acrobatics]. But sometimes as in the second aria 'Dopo un'orrida procella' the fireworks of Vivaldi leave her a bit hoarse and out of breath. Il Giardino Armonico conducted by Giovanni Antonini lend her an excellent and spirited support. Furthermore she is joined in the first aria by the Arnold Schoenberg Choir.

However, this is a great disc and some of my favourites here are: 'Dopo un'orrida procella', her tender and wonderful rendition of 'Zeffiretti che sussurate' with beautiful echo effects (which were often used for Baroque music), 'Gelido in ogni vena', the storm aria 'Anch'il mar par che sommerga' or the martial aria 'Di trombe guerriere'. The accompanying booklet contains information about Vivaldi, Cecilia Bartoli, Il Giardino Armonico and provides the lyrics with translations.

Definitely a disc by Cecilia to own.

by stardustraven

This album is an absolute revelation and demonstrate that Vivaldi was one of the greatest opera composer of his time. One needed an artist of the caliber of Cecilia Bartoli to show us the incredible variety of moods,colors and expressions displayed in this music as well as the amazing technical abilities required to master the difficulties of some of these extremely demanding arias. When you hear the track 2 or the magical track 9 it makes us long to hear more from these virtually unknown operas;in track 12 you can also see where Haendel started from. I do hope this album will lead the way and trigger a gold rush towards a full revival of this amazing side of Vivaldi's opus : When one thinks that he composed about 92 operas in his lifetime it is difficult to believe that we still know so little about them today.Let's thank Cecilia for opening the door of this fantastic treasure trove !

This recording clearly shows how important the ARTIST is when it comes to performing the music of Vivaldi. If you present the music with energy and fantasy it won't become dull. The reason to all the negative talk about Vivaldi being a bad composer is really that the musicians until recently, never have had the right approach to the music. I love this record and I must give Il Giardino extra credit for there superb playing. This is a must-have!

Cecilia Bartoli is absolutely my favorite and this aria collection simply must be heard to be believed. It is that good. Bartoli's renditions on this CD are brilliant...even for Bartoli. Even if she had never recorded another thing, before or after The Vivaldi Album, this would be enough to assure her of lasting fame, and rightly so.

Bartoli takes us through the most incredibly florid passages with grace, authority and vocal perfection. Her voice exhibits a passion that mezzos usually reserve for Amneris and Eboli. She is unbelievably precise when singing phrases like, "Andero, volero, gridero," from L'Orlando finto pazzo.

It was Bartoli, herself, who researched the material for this CD in Turin's National Library, according to the notes. Six of the arias have been unrecorded until now, and all thirteen in this collection are undeniably fascinating and some of the best Bartoli has ever done. Although a gorgeous mezzo, she negotiates stunning coloratura showpieces ("Anch'il mar par che sommerga," from Bajazet) with absolute precision and abandonment and places them next to charming pastoral arias and melancholy airs. Vivaldi, who treated the voice as though it were a violin, wrote passages that can be incredibly difficult to sing, but Bartoli accomplishes all wish ease. Two of the arias included, "Dell'aura al sussurrar," from Dorilla in Tempe and "Gelido in ogni vena," from Farnace, share material with The Four Seasons (the first movements of "Spring" and "Winter."

Although Bartoli's vocals captures the spotlight on this CD, the instrumentals cannot be overlooked. The horns in "Dopo un'orrida procella," from Griselda are wonderful and make a lovely contrast to the flageolets in "Di due rai languir costante."

Il Giardina Armonico is the perfect ensemble to accompany the perfect Bartoli. They seem to be composed of nothing but virtuosos and are as enjoyable and brilliant as Bartoli, herself.

Bartoli should be congratulated for her research and for her use of her supreme star status in bringing this CD to life. She could have more easily recorded a CD of well-known and well-loved material, but, as always, Bartoli chose the artistic, rather than the easy, way. In doing so, she enriched both herself and us as well.

Five years ago I heard Bartoli live and was concerned that the voice was lightening up and the timbre becoming more of a soprano rather than a mezzo. All such fears are banished by this truly exceptional disc which brings a lot of great but forgotten music to most vivid life. My reservations are few - there is some bumpiness between registers and a chest voice which does not appear to relate to the rest of the voice. But what energy, attack, sensitivity and imagination are on offer here! The range of vocal colour is magnificent, her engagement total, her concern for the text always evident. Bartoli was always a fine singer - this disc puts her among the century's greats. And the orchestral contribution, though occasionally vehement, is athletic and supremely sensitive.

The packaging, too, recalls the lavish presentation which seems to have died with the coming of CD.

Cecilia Bartoli brings to life Vivaldi!

In "The Vivaldi Album," this dynamic, charismatic, and brilliant mezzo transforms Vivaldi like no other!

What a performance! While many may feel that "The Four Seasons" is about the only thing recognizable of Vivaldi, Ms Bartoli takes the music and ascends to the highest levels. With the Arnold Schoenberg Choir and conducted by Giardino Armonico, she clearly posts her claim (and lives up to her reputation)as being the best mezzo around today. She notes on the CD liner page that her music is "...a fascinating journey of discovery, exploring...Vivaldi's operas...which have been ignored for far too long." She has succeeded with her efforts--and these efforts seem so effortless.

She has triumped in New York with "Cinderella," among others and certainly has claimed a place in the modern world not only of opera and classical music but of "music for the masses," just as well. What a triumph! Bravissima!

(Billyjhobbs@tyler.net)

This is one of the few recordings that like Glen Gould's Goldberg's Variations in 1955 that stunned the music world. Cecilia Bartoli is communicating directly with listeners: about love, about death, about loss, about joy - all human needs and pains are here as for the first time. Hers is not only the superb voice, hers is a gift of her soul. It shocks again and again. How often do we need to be shaken so? She thinks every time we listen to her voice!

This CD is a sensation!

Even if you disdain Vivaldi in the Stravinsky way, do yourself
a favor, and get this record. Music hidden in some obscure
library for centuries, brought to pulsating life by a minor
voice, here used with passion and artistry reminding one of
vocal artists of the past. An enriching experience for anyone
enjoying the art of singing.