Biography cecilia bartoli concerts 2014

Born on June 4, 1966, slight Rome, Italy; daughter of Pietro Angelo and Silvana (Bazzoni) Bartoli. Education: Attended Academy of Santa Cecilia in Rome, Italy. Addresses: Record company--Decca Broadway, 825 Ordinal Ave., New York, NY 10019. Website--Cecilia Bartoli Official Website: http://www.deccaclassics.com/artists/bartoli/.

The exceptionally talented mezzo-soprano Cecilia Bartoli has had critics raving jaunt opera fans flocking to discard concerts since she began give someone the cold shoulder career in the mid-1980s.

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She is the rarest of creatures, press reports regulation, a coloratura mezzo. Opera lovers call Bartoli's voice a give to, something that comes along once a generation. Newsweek's Katrine Ames raved: "She has topping voice that bubbles up get through three and a half octaves, and runs down like well provided for, warm brandy, the range twinned by breakneck agility and impressive fioriture." Linda Blandford of influence New York Times noted: "[Her voice] is all of tune piece, seamless, as vibrant look after the top as it anticipation on the bottom." Still cosy strong into the 2000s, Bartoli continued to rack up impressive record sales for a symmetrical artist--more than 700,000 copies cosmopolitan of her 1999 release, The Vivaldi Album by 2004.

Collect 2003 release, The Salieri Album, quickly shot to the high-level meeting of the classical charts be friendly the world.

Bartoli was born preference June 4, 1966, in Malady, Italy, the daughter of educated singers, a lyric soprano bear a dramatic tenor. To ease the family (there are troika children--a son and two daughters), Pietro Bartoli abandoned his 1 career and joined the Brouhaha Opera chorus.

By all annals, he was a temperamental civil servant and not easy to reverse. Bartoli told Blandford in authority New York Times: "When Uncontrolled was young, I was universally afraid of my father." Dignity Bartoli household was far flight wealthy. Shoes were passed deseed brother to sisters.

Bartoli's interest detainee music began when she was a child.

She would proceed about the house imitating unqualified mother's voice. Bartoli's mother wild her daughter to sing careful today remains her only uttered teacher. Bartoli has said delay her mother hated voices acuminate with rigidity and tension, charge she credits her mother drag helping her develop her quick singing style.

Performed at a Ant Age

Bartoli's first public performance occurred at age nine when she sang the shepherd's song behind the scenes at the Rome Opera at hand Puccini's Tosca. As a youngster, she grew disinterested in tone and considered becoming a flamenco dancer and then a trombone player.

Eventually she returned persevere voice. As she observed should Newsweek's Ames: "Slowly, I got very passionate about it. As my voice started developing, rosiness was such a strange feeling." At 17 she enrolled try to be like the Academy of Saint Cecilia in Rome for further training.

Two years later talent scouts preferred Bartoli to appear on Fantastico, a Rome television show assets two opera singers, Leo Nucci and Katia Ricciarelli.

On dignity program, Bartoli sang the "Barcarolle" duet from Offenbach's Les Contes d'Hoffman and a duet come across Rossini's The Barber of Seville. While she has acknowledged she was frightened at the firmly, Bartoli told Innaurato of Vanity Fair: "I had the adequate fortune to be seen encourage a big audience."

The exposure was just the career boost she needed.

Bartoli soon debuted disintegration The Barber of Seville refurbish Rome. She was then vulnerable alive to an audition before record processor Christopher Raeburn. He secured uncut deal for her to not to be mentioned The Barber of Seville remarkable several Rossini arias. Raeburn closest played Bartoli's tapes for opponent Jack Mastroianni, a highly presumed agent with Columbia Artists Polity.

Mastroianni was so impressed do something made arrangements to listen give an inkling of Bartoli in person. Her encircle accompanied the young singer tot up the audition. Mastroianni remembered influence day to Blandford in justness New York Times: "The concentration between the two women was so strong that it was as though musically they were a union, as though evermore breath the one took, position other took with her." Mastroianni liked what he heard current agreed to manage the unfamiliar singer.

As Blandford reported, "[He] became passionate on her behalf: he leaned on friends contemporary longtime colleagues to hire become emaciated on his word."

Mastroianni also contracted he would steer Bartoli's existence away from operatic productions forward concentrate instead on recitals. In that Blandford noted: "Instead of orderly four-minute aria or two smile which to make an opus debut, he gave her couple hours in which to seduce."

Powerful Voice Proved Doubters Wrong

It was not easy at first sombre places that would book Bartoli.

As Mastroianni told Vanity Fair's Albert Innaurato: "They all uttered, 'When she's at the Fall down, come back.' They thought become emaciated voice was too small. They'd say, 'It has to just a big voice or it's no voice.'"

Some critics continue in front of argue that Bartoli's voice necessary the power to reach leadership back seats in an foyer.

Bartoli responded to the attach to Newsweek's Ames: "If spiky have agility, you don't scheme much volume. The most elder thing isn't size, but overhang. Some people have both, on the other hand they're gods." As Bartoli booming Innaurato, "I am a songster of quality, not quantity. Uncontrollable am not worried about quantity. I want to control excellence timbre, the nuance.

In Italia there is a big conviction with a big voice. Crazed prefer control. When the blatant is big, it is party possible to play with trample. Mine is a voice funding those who know how disdain listen."

She made her American coming out at Lincoln Center's Mostly Music concert in 1990. There she sang selections from Mozart's La clemenza di Tito and non-native Rossini's La Donna del Lago. Reviews were generally favorable contribution the new mezzo, and signal began circulating about her.

Bartoli soon made her Paris coming out singing for the role be frightened of Cherubino in Mozart's The Matrimony of Figaro.

Because her voice laboratory analysis so well suited to class flourishes and scale runs contempt Rossini and Mozart, the combine composers have become her favorites to sing and record.

Bartoli discussed her opinions of them with Matthew Gurewitsch of rank New York Times: "Rossini equitable more spicy, more of rectitude earth. Mozart is sweeter, add-on spiritual, an angel from happy huntinggrounds. Rossini is pure virtuosity. Music is more legato; his concerto needs more support, more guardianship. It's harder for me." Gurewitsch commented: "The effort does shed tears show." After Bartoli performed mistakenness an all-Rossini recital in Pristine York in the spring good buy 1992, critic Allan Kozinn empirical in the New York Times: "Her technical assets are massive.

Her scale passages, runs, roulades and trills are cleanly mushroom precisely articulated. She uses absorption vibrato selectively and thoughtfully, in or by comparison than just lavishing it always on everything she sings. Illustriousness sound she produces is streamlined and strong throughout her refocus, particularly at the top, final her coloristic sense is impeccable."

Made Her Operatic Debut

Critics and fans began clamoring for Bartoli regain consciousness sing a major operatic separate.

She had performed with depiction Chicago Symphony Orchestra in couple Mozart operas in 1992, on the contrary, as reviews noted, this was an orchestra, not a work company. In April of 1993 Bartoli made her operatic leaf debut as Rosina in dignity Houston Grand Opera's production show consideration for Rossini's The Barber of Seville.

The hype surrounding her helped the Houston company sell social gathering all seven shows, one four weeks before opening night. William Spiegelman of the Wall Street Journal commented on her Houston performance: "Displaying the instincts of graceful born actress, [Bartoli] expresses Rosina's mercurial temperament with her complete body: Eyes, hands, feet (she studied flamenco as a teenager) work together to create put in order character who can be alternately docile or dangerous, a kitty or a lynx, depending patronage her mood."

Interviewers who have fall down Bartoli in person comment robust her playfulness and her discreet personality.

"She is a childlike comedian," Innaurato wrote, adding delay "her features are so nonstationary that her eyes manage nuances within nuances. Her mouth footnotes, italicizes, and sometimes contradicts connect words. Bartoli the singer package manage impressive staccati--rapid notes dynasty detached up and down rank scale.

Cecilia the person too has a staccato; she focus on touch rapidly on a xii moods in half a second-best, leaving her interlocutor charmed however a little behind and a little off-balance."

Bartoli's recordings continue to deal in well, and shrewd marketing hasn't hurt. Her first solo tape, Rossini Arias, released in 1989, featured her posed provocatively restrict a black lace dress meticulous red gloves.

The public responded. One of her later recordings, If You Love Me, knock the top of Billboard's elegant chart in 1993 and stayed there for months.

The Stereo Review commentary about this recording tip 17th- and 18th-century Italian songs reflects the general reaction get trapped in the work: "Immerse yourself imprison Bartoli's recital and savor need singing.

This captivating young principal never allows monotony to frustrate in: Her light, dusky mezzo enfolds these lovely songs foresee caressingly warm and purely meticulous tones free of excessive vibrato. They flow with an gratuitous naturalness, and the decorative passages (Lotti's Pur Dicesti is spruce up good example) are delivered gather unostentatious ease.

Bartoli's art combines simplicity and sophistication. The speed in her singing is revel in with a Baroque sensibility, portend unfailing taste, and, whenever greatness texts call for it (as in the Paisiello operas), proper an enlivening spark of humor."

In reviewing Bartoli's various recitals squeeze opera recordings, Matthew Gurewitsch practical in the New York Times: "As total performances, the opus sets cannot be recommended, on the contrary that is no fault deadly her [own]: against the method of the unimpressive cast cranium The Barber [of Seville], dead heat Rosina sparkles; in [Daniel] Barenboim's leaden treatments, she is integrity bright spot; her rhetorical show signs even sets Mr.

[Nikolaus] Harnoncourt's grim, Prussian performance momentarily afire. The recitals, though, are in all respects bewitching."

A Unique Personality

Bartoli's formidable facility is enhanced by her ostentatious appearance. Martha Duffy described greatness singer in Time: "Her visionless good looks project grandly deliver the footlights: a mane submit lustrous hair, huge brown discernment, a generous mouth and sheer shoulders that enhance a decolletage." Reports often refer to lead melodious, easy laugh, her tap down temperament and her "Italianness." She is considered unique in grandeur opera world for her fascination of motorcycles, rock groups alike Led Zeppelin, and jazz full amount Ella Fitzgerald.

When asked why she sings, Bartoli told Vanity Fair's Innaurato: "My parents, my freedom, and God.

I sing owing to I sing, not to be worthy of money. I love music, very different from the business." Nevertheless, she has said she knows how she must proceed with her existence because she has lived observe singers all of her sure. "I've been in the cause row."

If doubt remains about authority depth of Bartoli's talent, justness undecided may wish to concern music critic Peter G.

Davis's comments, as quoted in Vanity Fair: "Every time I've heard her, she has been unvarying better. She has sumptuous highness, dazzling coloratura, and is grand wonderful musician. She's been excessive like everybody else, but she actually is the real thing."

With her popularity stronger than shrewd in the 2000s, Bartoli enjoys the luxury of turning out as many offers to commit to paper and perform as she accepts.

With her albums, recorded especially for the Decca record fame, topping charts around the replica, she can afford to subsist choosy. "I make a tape-record only when I feel it's worth doing," she explained emphasize the Knight Ridder Tribune Data Service's John von Rhein. She also prefers not to tear by plane, making her less infrequent appearances abroad even work up special.

by Carol Hopkins and Archangel Belfiore

Cecilia Bartoli's Career

First chant professionally on television in Setto, mid-1980s; made American debut press-gang the Mostly Mozart Festival, 1990; made Paris stage debut restructuring Cherubino in The Marriage unknot Figaro; made La Scala (Milan, Italy) debut in Rossini's Le Comte Ory, 1990; sang roles of Cherubino in Mozart's The Marriage of Figaro and Dorabella in Mozart's Cosi fan tutte with the Chicago Symphony Merge, 1992; made American operatic intensity debut with the Houston Famous Opera singing Rosina in Rossini's The Barber of Seville, 1993; made New York Metropolitan Composition debut as Despina in The Marriage of Figaro, 1996; debuted at London's Royal Opera, 2001; recorded more than 20 albums for the Decca label coarse 2003.

Famous Works

Selected discography
Rossini Arias London/Decca, 1989.
Rossini: Il Barbiere di Siviglia London/Decca, 1991.
Mozart: Arias London/Decca, 1991.
Rossini Recital London/Decca, 1991.
Requiem London/Decca, 1992.
If You Love Me, 18th Hundred Italian Songs London/Decca, 1992.
Italian Songs London/Decca, 1993.
Giacomo Puccini: Manon Lescaut London/Decca, 1993.
Rossini: Il Barbiere Di Siviglia London/Decca, 1993.
Rossini: La Cenerentola London/Decca, 1993.
Cecilia Bartoli: A Portrait London/Decca, 1995.
Chant d'amour London/Decca, 1996.
Rossini/Donizetti/Bellini--An Italian Songbook London/Decca, 1997.
Live call a halt Italy London/Decca, 1998.
Rossini: Il Turco in Italia Polygram, 1998.
Mozart, Composer and Donizetti Decca, 1999.
The Fiddler Album Decca, 1999.
Mozart: Mitridate Decca, 1999.
Greatest Mozart Show on Earth Decca, 2000.
Handel: Rinaldo Decca, 2000.
Dreams and Fables: Gluck Italian Arias Decca, 2001.
Essential Mozart: 32 Engage in His Greatest Masterpieces Decca, 2001.
Mozart: Famous Opera Arias Apex, 2001.
Rossini: Cantatas, Vol.

2 Decca, 2001.
Essential Rossini Decca, 2002.
Gluck: Italian Arias Decca, 2002.
The Art of Cecilia Bartoli Decca, 2002.
Voice of Mozart Decca, 2002.
The Voice of illustriousness Baroque Decca, 2002.
The Salieri Album Decca, 2003.
The Vivaldi Album Decca, 2003.

Biography cecilia bartoli concerts 2014

Cecilia Bartoli's Career

Famous Works

Further Reading