Music CD - Cecilia Bartoli - Maria

	Music CD: Cecilia Bartoli - Maria List Price: $13.79 Our Price: $11.31 Your Save: $ 2.48 ( 18% ) Availability: Usually ships in 24 hours Manufacturer: Decca
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Tracks: 1. Se Un Mio Desir 2. Ira Del Ciel 3. Cari Giorni 4. Infelice 5. Yo Que Soy Contrabandista 6. Ah! Non Credea Mirarti 7. Ah! Non 8. Air A La Tirolienne Avec Variations 9. E Non Lo Vedo 10. Rataplan 11. Dopo Tante E Tante Pene 12. O Rendetemi La Speme 13. Vien, Diletto 14. Come Dolce A Me Favelli 15. Scorrete, O Lagrime 16. Prendi, Per Me Sei Libero 17. Casta Diva
Binding: Audio CD EAN: 0028947590774 Format: Limited Edition Label: Decca Manufacturer: Decca Number Of Discs: 1 Publisher: Decca Release Date: 2006-10-10 Studio: Decca
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Spotlight customer reviews: Customer Rating: Summary: I DON'T GET IT Comment: We should all be glad that Cecilia Bartoli has such clout in the world of classical music, because without it, we wouldn't have such interesting recordings as this one or her earlier Salieri album. Here she explores repertoire associated with the legendary 19th-century singer Maria Malibran (terms such as soprano and mezzo-soprano weren't as rigorously applied then as they are now; scholars surmise that she was basically a mezzo with a freakishly high extension that enabled her to tackle many of what today are considered soprano roles.) I suppose the implication is that Ms. Bartoli is today's equivalent of Malibran, but I think not. I've never understood the Bartoli phenomenon. Lord knows enough knowledgeable people are in awe of her talent--I remember one vocal authority, after hearing one of her first recitals, declared her to be "a perfect singer." I never heard her live (maybe that's the only way to appreciate her gifts), but I remember the first time I heard one of her recordings on the radio. Not knowing who was singing, I was curious as to just who it was who had such a strange-sounding voice and technique. I was shocked to learn that it was this supposedly "perfect" singer. For starters, her voice, to my ear, is not beautiful or sensuous. It often exhibits a guttural, almost shrill tone that makes her sound old and which I find grating. She's an attractive woman, but when she sings (as is painfully obvious in her video performances), she grimaces and contorts her mouth in a most unattractive and distracting manner. I also find her emotional range to be limited. She seems to have two modes: a soft, admittedly beautiful, legato that seems to indicate quiet introspection; and a breathy declamation that connotes agitated distress. In the Mad Scene from "I Puritani," for example, I hear no sadness in what must be the most heart-breaking set piece Bellini ever composed. And her coloratura!--It sounds like a cross between gargling and hiccoughs. Unfortunately, for the repertoire she most frequently performs, coloratura facility is a requirement. (I was once at a book signing for Dame Joan Sutherland, who was asked her opinion of Bartoli. She tried to be tactful, but said, "I must say her coloratura production sounds very strange. It will be interesting to see how long she's around." Well, Bartoli is obviously still around, but she also still has that strangely cackling coloratura sound.) One wonders why no teacher or coach ever told her not to aspirate each note so strongly. I suppose we should be grateful that when she essays the legendary aria "Casta Diva" from Bellini's "Norma," she does not include the cabaletta--which is, after all, half the aria. Bartoli does offer a generous selection of obscure and rarely heard selections. It is no surprise that the disc includes eight "world premiere" recordings--as phenomenal as Malibran was, virtually no major operatic role was composed specifically for her by any composer held in esteem today; the closest she came was when Bellini made a special mezzo arrangement of "La Sonnambula" for her, an arrangement she never got to sing (although Frederica von Stade did perform it several decades back). As for the bulky book that is bound with the disc, it has shamelessly been designed to look like a perfume ad from Vanity Fair; I'm surprised she isn't sporting her Rolex watch on the cover. For a thorough grounding in the facts of Malibran's life, one would do better to dig up a copy of Howard Bushnell's "Maria Malibran: A Biography of the Singer" (now unfortunately out of print, but available in libraries). Quite a few years ago, near the beginning of her career, Marilyn Horne recorded a remarkable two-LP set called "Souvenir of a Golden Era," in which she paid tribute to Malibran and her sister, the almost equally famous mezzo Pauline Viardot. None of that recording's repertoire overlaps with Bartoli's disc (although it includes "Bel raggio" from "Semiramide," which Bartoli recorded on her "Rossini Heroines" disc), but I frankly don't find Bartoli's instrument to be in the same league as Horne's. Too bad Decca has never released the earlier recording complete on CD. I think that would give us a better notion of what Malibran might have sounded like. Customer Rating: Summary: Great presentation; less than great singing Comment: Had Malibran's father, the famous singer and teacher Garcia, heard the singing on this album from a contemporary diva, he would undoubtedly have enrolled her in a rigorous and extended remedial singing course. Bartoli's fioriture is entirely devoid of legato - each note is separated from the other in the percusive style of a piano. Of course, this defect has been present in Bartoli's singing from the beginning of her career, but it has worsened over the years until it is almost a characature of coloratura singing. Compare Bartoli's treatment of fioriture with almost any contemporary world-class mezzo -- Larmore, Podles, Kasarova, Graham, von Otter -- and the deficiency of Bartoli's technique is glaringly apparent. (On the other hand, Bartoli has acquired an important accomplishment that few of her contemporaries possess: a lovely trill, which is apparent in the very first track of the album). The voice itslf has largely retained its rich, deep timbre and range of contrasting expressive colors, at least in the lower two-thirds of its compass. However, Bartoli has altered the "mix" in the upper third of her voice (presumably to enable her to more easily navigate the higher tessitura of soprano roles). As a result, the sound of her upper register, while still attractive, is no longer "of a piece" with the rest of the voice; she has gained the ability to sustain a higher tessitura at the expense of color and depth. Moreover, when she presses the upper notes, they take on a frazzled, pressured quality marred by an intrusive fast vibrato. Partially offsetting these technical limitations is a considerable group of virtues: Bartoli's interpretive verve, expressive variety (each piece is conceived anew), her taste in ornamentation, and her sensitive treatment of sustained lines. When these qualities are in the forefront (as they often are for several minutes at a time during the course of this recital), the concept of the CD as a tribute to one of the greatest bel canto singers of the 19th century is at least reasonably plausible. Decca deserves high praise for giving this project the deluxe treatment. The hardcover book is sumptuously illustrated and carefully researched, the program is interesting and varied, the conducting and choral work are first-rate. More the pity that the centerpiece of the whole production --Bartoli's singing -- only intermittently evokes the artistry of the famed Maria Malibran. Customer Rating: Summary: Great performance Comment: Cecilia Bartoli CD is one of the best I own, I would recomended to anyone without thinking Customer Rating: Summary: "She is One of a Kind ... Cecilia Bartoli ... Decca Records (2007)" Comment: Decca Records presents "MARIA" ---It's an absorbing tale Cecilia Bartoli tells --- She has the talent of not making anything sound that you've heard this before --- Cecilia is definitely one of a kind --- Her new recital is so brilliant that she makes this an art of special moments in the world of classical music --- From boldly plunging into every aria and then carving a distinct signature of her own --- The summation of her distinctive talents is she is one of the best today in the world of opera. The Italian mezzo-soprano Cecilia Bartoli (born 4 June 1966, Rome) is an opera singer and recitalist --- She is best known for her Mozart and Rossini roles as well as for her performances of lesser known Baroque and Classical music --- Bartoli is considered a coloratura mezzo-soprano (Koloratur-Mezzosopran), with a highly individual timbre which she uses to great vocal and dramatic effect --- Though her timbre is quite dark, her tessiture is comparatively higher than those of other mezzos and therefore some speculate that she is a "soprano sfogato" --- She is one of the most popular (and one of the top selling) opera singers of recent years --- Bartoli is much liked by the concert going public for her lively, vivacious on-stage persona, while her lyric voice and investigations of other Baroque era music have given her considerable recognition even among the non-opera-going public. Bartoli has developed repertoire suited to her voice --- In addition to Mozart and Rossini, she has been turning her attention to baroque and early classical era music of such composers as Gluck, Vivaldi, Haydn and Salieri --- In early 2005, she sang "Cleopatra" in Handel's "Giulio Cesare", a role written for a soprano, but which is in mezzo range --- As her voice has matured it has gained fullness and "largeness" it was earlier criticized for lacking --- She is generally considered one of the best mezzo-sopranos currently practicing --- In addition, she was honored with a medal from the Ordre des Arts et des Lettres.(From Wikipedia, the free encyclopedia) Maria - (Tracks Listings) 1. Irene (o L'assedio di Messina), opera: Se un mio desir... Cedi al duol [3:45] Composed by Giovanni Pacini Orchestra "La Scintilla" der Oper Zürich, Jürg Hämmerli, International Chamber Soloists and Una Prelle Conducted by Adam Fischer 2. Irene (o L'assedio di Messina), opera: Ira del ciel [2:25] Composed by Giovanni Pacini Performed by Cecilia Bartoli, Orchestra "La Scintilla" der Oper Zürich, Jürg Hämmerli, International Chamber Soloists and Una Prelle Conducted by Adam Fischer 3. Ines de Castro, opera: Cari Giorni [4:09] Composed by Giuseppe Persiani Performed by Cecilia Bartoli, Orchestra "La Scintilla" der Oper Zürich, Maria Goldschmidt, Daniel Pezzotti and Una Prelle Conducted by Adam Fischer 4. Infelice, concert aria for soprano & orchestra, Op. 94 [12:19] Composed by Felix Mendelssohn Performed by Cecilia Bartoli, Maxim Vengerov and Orchestra "La Scintilla" der Oper Zürich Conducted by Adam Fischer 5. El poeta calculista, opera: Yo que soy contrabandista [2:28] Composed by Manuel Garcia Performed by Cecilia Bartoli, Orchestra "La Scintilla" der Oper Zürich, Elena Vicini, Isabel Amaya, Ricardo Espinosa and Claudio Mermoud Conducted by Adam Fischer 6. La sonnambula, opera: Ah! Non credea mirarti [4:17] Composed by Vincenzo Bellini Performed by Cecilia Bartoli, Orchestra "La Scintilla" der Oper Zürich, Jürg Hämmerli and Celso Albelo Conducted by Adam Fischer 7. La sonnambula, opera: Ah! Non giunge [3:28] Composed by Vincenzo Bellini Performed by Cecilia Bartoli, Orchestra "La Scintilla" der Oper Zürich, Jürg Hämmerli and International Chamber Soloists Conducted by Adam Fischer 8. Air à la tirolienne avec variations, for voice & orchestra, Op. 118 [7:27] Composed by Johann Nepomuk Hummel Performed by Cecilia Bartoli, Robert Pickup, Orchestra "La Scintilla" der Oper Zürich and Maria Goldschmidt Conducted by Adam Fischer 9. La figlia dell'aria, opera: E non lo vedo... Son Regina [7:05] Composed by Manuel Garcia Performed by Cecilia Bartoli, Orchestra "La Scintilla" der Oper Zürich, Jürg Hämmerli and International Chamber Soloists Conducted by Adam Fischer 10. Rataplan [2:28] Composed by Maria Malibran Performed by Cecilia Bartoli, Orchestra "La Scintilla" der Oper Zürich and Benjamin Forster Conducted by Adam Fischer 11. Tancredi, opera: Dopo tante e tante pene [3:20] Composed by Gioachino Rossini Performed by Cecilia Bartoli and Orchestra "La Scintilla" der Oper Zürich Conducted by Adam Fischer 12. I Puritani, opera: O Rendetemi la speme... Qui la voce [5:19] Composed by Vincenzo Bellini Performed by Cecilia Bartoli, Luca Pisaroni and Celso Albelo Conducted by Adam Fischer 13. I Puritani, opera: Vien, diletto [2:50] Composed by Vincenzo Bellini Performed by Cecilia Bartoli, Luca Pisaroni and Celso Albelo Conducted by Adam Fischer 14. L'éclair, opera: Come dolce a me favelli [4:38] Composed by Jacques-François Fromental Halévy Performed by Cecilia Bartoli, Ada Pesch and Orchestra "La Scintilla" der Oper Zürich Conducted by Adam Fischer 15. Amelia (or Otto anni di costanza), opera: Scorrete, o lagrime [2:34] Composed by Lauro Rossi Performed by Cecilia Bartoli, Robert Pickup, Orchestra "La Scintilla" der Oper Zürich, Jürg Hämmerli and International Chamber Soloists Conducted by Adam Fischer 16. L'elisir d'amore, opera: Prendi, per me sei libero [4:18] Composed by Gaetano Donizetti Orchestra "La Scintilla" der Oper Zürich Conducted by Adam Fischer 17. Norma, opera: Casta diva [6:49] Composed by Vincenzo Bellini Orchestra "La Scintilla" der Oper Zürich, Jürg Hämmerli, Maria Goldschmidt and International Chamber Soloists Conducted by Adam Fischer Hats off to Decca Records --- strongly recommend this CD to all music lovers and all others who need to hear some great classical music --- Cecilia Bartoli and all the composers, conductors and orchestras please stand up and take a bow for this well deserved rare gem you've given us --- this is a keeper! Total Time: 73 mins on 17 Tracks ~ Decca Records ~ (10/16/2007) Customer Rating: Summary: Voice as an instrument, Comment: her voice is an instrument and she is an expert at its use. Love the track and the singer! More Reviews
Editorial Reviews: Cecilia Bartoli revisits the early Romantic era of Rossini, Bellini and their contemporaries and views the Bel canto glory days through the eyes of Maria Malibran: Romantic icon, Bel Canto muse, and the most extraordinary opera star of her time. Maria features 8 world premiere recordings including the prayer `Se il mio desir...Cedi al duol' from the long lost opera Irene by Pacini, and the aria `E non lo vedo...Son regina' by Maria's father, the famous Rossini tenor Manuel Garcia. Bartoli also presents the London version of Mendelssohn's `Infelice' for voice, violin solo and orchestra, where she duets with Maxim Vengerov. The album also includes popular favorites, such as Bellini's `Casta Diva' from Norma. Maria features an incredible variety of music. Mellifluous Bel canto delights are contrasted with regional flavors from around the world: from Spanish flamenco to Tyrolienne yodeling. The album exhibits Cecilia Bartoli singing in four languages: Italian, Spanish, French and English. She is joined by the period practice Orchestra La Scintilla, led by Hungarian conductor Adam Fischer.