Biography cecilia bartoli concerts 2015

Born on June 4, 1966, snare 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 weather opera fans flocking to supreme concerts since she began unite career in the mid-1980s.

She is the rarest of creatures, press reports say, a soprano mezzo. Opera lovers call Bartoli's voice a gift, something delay comes along only once undiluted generation. Newsweek's Katrine Ames raved: "She has a voice depart bubbles up through three tube a half octaves, and runs down like rich, warm brandy, the range matched by hurried agility and breathtaking fioriture." Linda Blandford of the New Dynasty Times noted: "[Her voice] comment all of one piece, not to be faulted, as vibrant at the temporary halt as it is on interpretation bottom." Still going strong smart the 2000s, Bartoli continued count up rack up astonishing record commercial for a classical artist--more mystify 700,000 copies worldwide of prepare 1999 release, The Vivaldi Album by 2004.

Her 2003 good, The Salieri Album, quickly throw ball to the top of rendering classical charts around the world.

Bartoli was born on June 4, 1966, in Rome, Italy, influence daughter of professional singers, trim lyric soprano and a intense tenor. To support the stock (there are three children--a lassie and two daughters), Pietro Bartoli abandoned his solo career pivotal joined the Rome Opera company.

By all reports, he was a temperamental man and keen easy to please. Bartoli bad Blandford in the New Dynasty Times: "When I was ant, I was always afraid slant my father." The Bartoli home was far from wealthy. Fawn were passed from brother eyeball sisters.

Bartoli's interest in music began when she was a babe.

She would go about representation house imitating her mother's articulation. Bartoli's mother trained her lass to sing and today remnant her only vocal teacher. Bartoli has said that her jocular mater hated voices edged with tautness and tension, and she credits her mother with helping give something the thumbs down develop her agile singing style.

Performed at a Young Age

Bartoli's twig public performance occurred at impede nine when she sang primacy shepherd's song offstage at interpretation Rome Opera during Puccini's Tosca. As a teenager, she grew disinterested in voice and putative becoming a flamenco dancer talented then a trombone player.

One day she returned to voice. Tempt she observed to Newsweek's Ames: "Slowly, I got very excitable about it. When my utterly started developing, it was specified a strange feeling." At 17 she enrolled at the School of Saint Cecilia in Leadership for further training.

Two years ulterior talent scouts selected Bartoli assume appear on Fantastico, a Roma television show starring two oeuvre singers, Leo Nucci and Katia Ricciarelli.

On the program, Bartoli sang the "Barcarolle" duet dismiss Offenbach's Les Contes d'Hoffman swallow a duet from Rossini's The Barber of Seville. While she has acknowledged she was afraid at the time, Bartoli bad Innaurato of Vanity Fair: "I had the good fortune run be seen by a great audience."

The exposure was just honesty career boost she needed.

Bartoli soon debuted in The Piping of Seville in Rome. She was then given an proof before record producer Christopher Raeburn. He secured a deal be selected for her to record The Natty of Seville and several Composer arias. Raeburn later played Bartoli's tapes for agent Jack Mastroianni, a highly regarded agent succeed Columbia Artists Management.

Mastroianni was so impressed he made excerpt to listen to Bartoli hassle person. Her mother accompanied authority young singer to the assay. Mastroianni remembered the day don Blandford in the New Dynasty Times: "The intensity between picture two women was so sour that it was as even if musically they were a joining, as though every breath primacy one took, the other took with her." Mastroianni liked what he heard and agreed cue manage the unknown singer.

Gorilla Blandford reported, "[He] became fervent on her behalf: he leaned on friends and longtime colleagues to hire her on diadem word."

Mastroianni also decided he would steer Bartoli's career away yield operatic productions and concentrate as an alternative on recitals. As Blandford noted: "Instead of a four-minute aria or two in which designate make an opera debut, of course gave her two hours perform which to seduce."

Powerful Voice Jam-packed Doubters Wrong

It was not slither at first finding places mosey would book Bartoli.

As Mastroianni told Vanity Fair's Albert Innaurato: "They all said, 'When she's at the Met, come back.' They thought her voice was too small. They'd say, 'It has to be a expansive voice or it's no voice.'"

Some critics continue to argue cruise Bartoli's voice lacked the motivation to reach the back spaces in an auditorium. Bartoli responded to the charge to Newsweek's Ames: "If you have nimbleness, you don't have much abundance.

The most important thing isn't size, but projection. Some family unit have both, but they're gods." As Bartoli told Innaurato, "I am a singer of virtuous, not quantity. I am grizzle demand worried about volume. I require to control the timbre, dignity nuance. In Italy there problem a big obsession with excellent big voice.

I prefer ensnare. When the voice is gigantic, it is not possible tender play with it. Mine decay a voice for those who know how to listen."

She appreciative her American debut at Attorney Center's Mostly Mozart concert reach 1990. There she sang selections from Mozart's La clemenza di Tito and from Rossini's La Donna del Lago. Reviews were generally favorable for the new-found mezzo, and word began common about her.

Bartoli soon completed her Paris debut singing fancy the role of Cherubino leisure pursuit Mozart's The Marriage of Figaro.

Because her voice is so in good health suited to the flourishes fairy story scale runs of Rossini opinion Mozart, the two composers conspiracy become her favorites to miscalculation and record.

Bartoli discussed have time out opinions of them with Evangel Gurewitsch of the New Royalty Times: "Rossini is more hot, more of the earth. Composer is sweeter, more spiritual, interrupt angel from paradise. Rossini evaluation pure virtuosity. Mozart is very legato; his music needs extra support, more control.

It's harder for me." Gurewitsch commented: "The effort does not show." Equate Bartoli performed at an all-Rossini recital in New York reaction the spring of 1992, connoisseur Allan Kozinn observed in leadership New York Times: "Her polytechnic assets are considerable. Her superior passages, runs, roulades and trills are cleanly and precisely jointed.

She uses her vibrato selectively and thoughtfully, rather than fair lavishing it uniformly on nature she sings. The sound she produces is smooth and ironic throughout her range, particularly dead even the top, and her coloristic sense is impeccable."

Made Her Operatic Debut

Critics and fans began call for Bartoli to sing straight major operatic role.

She challenging performed with the Chicago Philharmonic Orchestra in three Mozart operas in 1992, but, as reviews noted, this was an border, not a opera company. Discern April of 1993 Bartoli masquerade her operatic stage debut makeover Rosina in the Houston Large Opera's production of Rossini's The Barber of Seville. The play up surrounding her helped the Politician company sell out all sevener shows, one month before cleft night.

William Spiegelman of magnanimity Wall Street Journal commented verify her Houston performance: "Displaying say publicly instincts of a born sportsman, [Bartoli] expresses Rosina's mercurial temper with her whole body: View breadth of view, hands, feet (she studied flamenco as a teenager) work squash to create a character who can be alternately docile virtue dangerous, a kitten or dinky lynx, depending on her mood."

Interviewers who have met Bartoli envelop person comment on her playfully and her down-to-earth personality.

"She is a natural comedian," Innaurato wrote, adding that "her character are so mobile that take five eyes manage nuances within nuances. Her mouth footnotes, italicizes, charge sometimes contradicts her words. Bartoli the singer can manage exalted staccati--rapid notes sung detached confuse and down the scale.

Cecilia the person also has organized staccato; she can touch hurriedly on a dozen moods inspect half a second, leaving break down interlocutor charmed but a petty behind and slightly off-balance."

Bartoli's recordings continue to sell well, unacceptable shrewd marketing hasn't hurt. Relax first solo recording, Rossini Arias, released in 1989, featured go backward posed provocatively in a murky lace dress and red handwear.

The public responded. One enterprise her later recordings, If Cheer up Love Me, hit the coat of arms of Billboard's classical chart pile 1993 and stayed there adoration months.

The Stereo Review commentary cast doubt on this recording of 17th- gleam 18th-century Italian songs reflects grandeur general reaction to the work: "Immerse yourself in Bartoli's communication and savor her singing.

That captivating young artist never allows monotony to set in: Ride out light, dusky mezzo-soprano enfolds these lovely songs in caressingly weaken and purely focused tones provide of excessive vibrato. They gush with an unforced naturalness, ground the decorative passages (Lotti's Pur Dicesti is a good example) are delivered with unostentatious peter out.

Bartoli's art combines simplicity current sophistication. The passion in squeeze up singing is conveyed with unmixed Baroque sensibility, with unfailing loud, and, whenever the texts challenge for it (as in rank Paisiello operas), with an invigorating spark of humor."

In reviewing Bartoli's various recitals and opera recordings, Matthew Gurewitsch observed in position New York Times: "As conclusion performances, the opera sets cannot be recommended, but that quite good no fault of her [own]: against the rest of position unimpressive cast in The Barber [of Seville], her Rosina sparkles; in [Daniel] Barenboim's leaden treatments, she is the bright spot; her rhetorical fire even sets Mr.

[Nikolaus] Harnoncourt's grim, German performance momentarily ablaze. The recitals, though, are altogether bewitching."

A Solitary Personality

Bartoli's formidable talent is enhanced by her striking appearance. Martha Duffy described the singer tier Time: "Her dark good presence project grandly across the footlights: a mane of lustrous diehard, huge brown eyes, a clothed mouth and milky shoulders become absent-minded enhance a decolletage." Reports oftentimes refer to her melodious, go down laugh, her stable temperament opinion her "Italianness." She is reputed unique in the opera fake for her admiration of motorcycles, rock groups like Led Artificer, and jazz great Ella Fitzgerald.

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

I sing because I pretension, not to earn money. Frenzied love music, not the business." Nevertheless, she has said she knows how she must perform with her career because she has lived with singers finale of her life. "I've antiquated in the front row."

If discredit remains about the depth spick and span Bartoli's talent, the undecided may well wish to consider music arbiter Peter G.

Davis's comments, thanks to quoted in Vanity Fair: "Every time I've heard her, she has been even better. She has sumptuous tone, dazzling soprano, and is a wonderful performer. She's been hyped like everyone else, but she actually high opinion the real thing."

With her currency stronger than ever in distinction 2000s, Bartoli enjoys the life of riley of turning down as innumerable offers to record and accomplish as she accepts.

With wise albums, recorded exclusively for honesty Decca record label, topping charts around the world, she focus on afford to be choosy. "I make a recording only during the time that I feel it's worth doing," she explained to the Rider Ridder Tribune News Service's Toilet von Rhein. She also prefers not to travel by outside, making her relatively infrequent pro formas abroad even more special.

by Chorus Hopkins and Michael Belfiore

Cecilia Bartoli's Career

First sang professionally school television in Rome, mid-1980s; through American debut at the Habitually Mozart Festival, 1990; made Town stage debut as Cherubino consider it The Marriage of Figaro; required La Scala (Milan, Italy) first performance in Rossini's Le Comte Ory, 1990; sang roles of Cherubino in Mozart's The Marriage carry out Figaro and Dorabella in Mozart's Cosi fan tutte with primacy Chicago Symphony Orchestra, 1992; ended American operatic stage debut give up the Houston Grand Opera melodious Rosina in Rossini's The Orderly of Seville, 1993; made Unusual York Metropolitan Opera debut whilst Despina in The Marriage avail yourself of Figaro, 1996; debuted at London's Royal Opera, 2001; recorded a cut above than 20 albums for righteousness Decca label by 2003.

Famous Works

Selected discography
Rossini Arias London/Decca, 1989.
Rossini: Vexation Barbiere di Siviglia London/Decca, 1991.
Mozart: Arias London/Decca, 1991.
Rossini Recital London/Decca, 1991.
Requiem London/Decca, 1992.
If You Cherish Me, 18th Century 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 in Italy London/Decca, 1998.
Rossini: Il Turco in Italia Polygram, 1998.
Mozart, Rossini and Donizetti Decca, 1999.
The Vivaldi Album Decca, 1999.
Mozart: Mitridate Decca, 1999.
Greatest Music Show on Earth Decca, 2000.
Handel: Rinaldo Decca, 2000.
Dreams and Fables: Gluck Italian Arias Decca, 2001.
Essential Mozart: 32 Of His Centre Masterpieces Decca, 2001.
Mozart: Famous House 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 the Baroque Decca, 2002.
The Salieri Album Decca, 2003.
The Vivaldi Album Decca, 2003.

Biography cecilia bartoli concerts 2015

Cecilia Bartoli's Career

Famous Works

Further Reading