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Cecilia Bartolli

Cecilia BartolliSince the beginning of her career, Cecilia Bartoli has established herself as a true specialist in the bel canto, especially in Gioacchino Rossini.

Her first recordings with music of this composer accounted the first great successes of the singer, whose career has followed an upward trend ever since. But the Italian mezzo-soprano was not content to cultivate a unique repertoire, and soon also highlighted as an interpreter of Mozart and classical repertoire in general, as well as the baroque repertoire.

Cecilia Bartoli studied at the Conservatory of Santa Cecilia in the Italian capital, but also her parents (both professional singers) took part in her musical education. The mother, Silvana Bazzoni, was held to introduce her in the vocal technique, and her father, Angelo Bartoli, in the interpretation.

Although at the age of nine she participated in a production of the opera Tosca by Giacomo Puccini at the Opera of Rome (she played the brief role of the pastor), her interest in the song did not wake until seven years later. She acknowledged as much as at one time in an interview: "I did not discover the song until I was sixteen; my first passion was the flamenco". Bartoli was convinced that "if I had not started with the singing, had begun a career in a flamenco dance company."

In 1985 she sang on TV, and chance would have it, the conductor Riccardo Muti listened. Muti was invited to sing at La Scala in Milan and in 1993 Bartoli participated in an assembly for director at the Coliseum of Milan: nothing less than a Don Giovanni by Mozart. In those years, the singer was beginning to be known, especially as an interpreter bel canto, especially Rossini.

But as Herbert von Karajan was set on it to interpret the Mass in B minor of Bach at Salzburg in 1990, another great teacher, Daniel Barenboim, felt that her voice and style were ideal to give life to the characters in the operas of Mozart on librettos by Lorenzo Da Ponte. That was when first performed in the United States in 1990 at Lincoln Center in New York. Her triumphant debut at the Metropolitan Opera House in the Big Apple took place six years later.

The recordings, including works by Rossini and Mozart, followed and Italian mezzo-soprano and was already considered one of the most important singers of the moment. In 1998 she was the Cherubino in Le nozze di Figaro by Mozart in Zurich under the command of Nikolaus Harnoncourt, and her relationship to the Swiss city theater led her to settle there, where she still resides.

Interest in the baroque repertoire has always shown Bartoli has resulted in high level recordings, most references considered by critics as the magnificent version of Handel's opera Rinaldo directed by Christopher Hogwood and the famous Vivaldi Album and Gluck Album, all authentic bestsellers, which can be added to the classic Salieri Album.Cecilia Bartolli

Temperamental performer, vital, passionate, capable of expressing the most intense singing drama and the greatest of joys, Bartoli is also rigorous and thoughtful. Knows perfectly what plays after a thorough study and presents her work from a perspective close to historicism, but never fails to engage emotionally in her work. Her sincerity does not go unnoticed by the public to the theaters or the millions of fans who enjoy the beauty of her recordings.

Among her recent albums, which were launched in 2005, were erected soon as her most outstanding successes. This is the Opera entitled prohibita, next to Les Musicians du Louvre directed by Marc Minkowski, and focused on arias by Handel, Caldara and Scarlatti composed between the late seventeenth and early eighteenth centuries, a time when the opera was banned by desire expressed of the Vatican. The composers of the time were forced to abandon the creation of operas for the benefit of oratorios, but the dramatic intensity of these had little to envy to the stage works, and some of the compositions contained in this recording could be part without any problems of opera performances. This truly exquisite repertoire, and not easy to interpret either the technical or expressive, was heard at the time that was forged in the voices of the castrati, since women weighed on the prohibition of singing in churches.

Although the names of Rossini, Mozart and Vivaldi come immediately to mind the amateur at the pronunciation of the name of Cecilia Bartoli, singer strives for greater diversity in the repertoire is concerned, and in this sense has expressed her desire to incorporate into her business roles as the title role of Bizet's opera Carmen.

It should be noted here that, if carried out this project, not the first time addressed the Roman mezzo repertoire than the baroque and classicism, and shows one of her best albums, titled In paradisum, 1999, in the which, together with Welsh baritone Bryn Terfel and the Choir and Orchestra of the Accademia Nazionale di Santa Cecilia in Rome under the command of Myung-Whun Chung, interpreted the requiems of Gabriel Fauré and Maurice Duruflé. Also, the piano Chung, Bartoli recorded in 1996 a concert of music by French authors such as Ravel, Bizet, Delibes and Berlioz, entitled Chant d'amour, and three years before she participated in recording a version of the opera Manon Lescaut Puccini under the command of James Levine, which involved Mirella Freni and Luciano Pavarotti.

Another feature that shows the versatility of the singer is to review the list of musicians she has collaborated with. Among them are flagship groups of historicism, as Il Giardino Armonico, Akademie für Alte Musik Berlin, Les Arts Florissants and others. But conductors with traditional style, such as Giuseppe Sinopoli, Georg Solti, Franz Welser-Möst, Claudio Abbado, Riccardo Chailly and so on, and piano accompanist, inter alia, András Schiff and Jean-Yves Thibaudet. But for the vast majority, Bartoli is an undisputed specialist in the bel canto and baroque and classical repertoires.

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