Streaming illimitato
Ascolta subito questo album in alta qualità sulle nostre app
Inizia il mio periodo di prova e riproduci l'albumGoditi questo album sulle app Qobuz con il tuo abbonamento
AbbonatiGoditi questo album sulle app Qobuz con il tuo abbonamento
Download digitale
Acquista e scarica questo album in più formati, secondo le tue esigenze.
Lingua disponibile: inglese
It has been a long three years since Cecilia Bartoli's previous release, Maria, brought nineteenth century coloratura Maria Malibran into the public consciousness. Decca's Sacrificium -- which reunites Bartoli with expert period band Il Giardino Armonico for the first time since 1999's The Vivaldi Album -- certainly makes clear that it was well worth the wait. In keeping with her long series of themed collections of opera arias, in this release Bartoli explores literature associated with the long lost vocal range of the castrati, male singers who were surgically altered in puberty in order to retain the high end of their voices into adulthood. The outlawing of castrati in Italy in 1870 brought this vicious practice to an end, but it also condemned two centuries' worth of operatic and sacred music to obscurity owing to the unsuitability of ordinary voices to sing in this special range; since then, a number of male countertenors have come to grips with it, with varying degrees of success, and an increasing number of females -- usually altos -- have been adopting castrato literature, as well. Bartoli -- a mezzo-soprano -- has got an amazing top end, well demonstrated in the earlier Maria release, but here she exhibits the bottom of her range to stunning effect; at one point when she dips down low in Francesco Araia's aria "Cadrò, ma qual si mira," Bartoli sounds like a man. While there are plenty of male singers who can approximate female voice, for it to go the other way around is indeed rare.
Also rare are the 12 selections on the main disc, every one of them a premiere recording of some kind. Bartoli has long established herself as an advocate for neglected or little known literature, and there is such a wealth of unused castrato literature that coming by such material probably wasn't difficult, but it also seems the album's producers were quite careful in finding examples that were representative of the theme, musically challenging for Bartoli and of generally excellent quality; even Il Giardino Armonico gets a great workout in "Nobil onda," an aria from Nicola Porpora's 1723 opera Adelaide. It is Porpora who emerges from this material as the champion composer for castrati, which is gratifying; an increasing number of Porpora releases in the times leading up to Sacrificium makes clear that he was one of the greats among Western composers and it's nice to see a major label like Decca pay some homage to him. However, Sacrificium's compilers have not lost sight of the unique talents of the star performer; no one would accuse Porpora's "Usignolo sventurato" from the opera Siface as being a great aria, with its limited range and texture. However, Bartoli's sensuous delivery and bold characterization of the piece makes something very special out of it, a major highlight of the program.
Bartoli's voice is of a quality that cuts through the veils of history and delivers this obscure music with absolute perfection; Decca's Sacrificium should easily please all comers.
© TiVo
Al momento stai ascoltando degli estratti.
Ascolta oltre 100 milioni di brani con un abbonamento streaming illimitato.
Ascolta questa playlist e più di 100 milioni di brani con i nostri abbonamenti di streaming illimitato
A partire da 12,49€/mese
Siface (Nicola Porpora)
Cecilia Bartoli, Mezzo-Soprano - Il Giardino Armonico, Orchestra - Giovanni Antonini, Conductor - - -
℗ 2009 Decca Music Group Limited
Sedecia (Antonio Caldara)
Cecilia Bartoli, Mezzo-Soprano - Il Giardino Armonico, Orchestra - Giovanni Antonini, Conductor - - -
℗ 2009 Decca Music Group Limited
Berenice (Antonio Salvi)
Cecilia Bartoli, Mezzo-Soprano - Il Giardino Armonico, Orchestra - Giovanni Antonini, Conductor - - -
℗ 2009 Decca Music Group Limited
Germanico in Germania (Nicola Porpora)
Cecilia Bartoli, Mezzo-Soprano - Il Giardino Armonico, Orchestra - Giovanni Antonini, Conductor - - -
℗ 2009 Decca Music Group Limited
Siface (Nicola Porpora)
Cecilia Bartoli, Mezzo-Soprano - Il Giardino Armonico, Orchestra - Giovanni Antonini, Conductor - - -
℗ 2009 Decca Music Group Limited
Demofoonte (Carl Heinrich Graun)
Cecilia Bartoli, Mezzo-Soprano - Il Giardino Armonico, Orchestra - Giovanni Antonini, Conductor - - -
℗ 2009 Decca Music Group Limited
Semiramide (Nicola Porpora)
Cecilia Bartoli, Mezzo-Soprano - Il Giardino Armonico, Orchestra - Giovanni Antonini, Conductor - - -
℗ 2009 Decca Music Group Limited
Zenobia In Palmira (Leonardo Leo)
Cecilia Bartoli, Mezzo-Soprano - Il Giardino Armonico, Orchestra - Giovanni Antonini, Conductor - - -
℗ 2009 Decca Music Group Limited
Adelaide (Nicola Porpora)
Cecilia Bartoli, Mezzo-Soprano - Il Giardino Armonico, Orchestra - Giovanni Antonini, Conductor - - -
℗ 2009 Decca Music Group Limited
Adriano In Siria (Carl Heinrich Graun)
Cecilia Bartoli, Mezzo-Soprano - Il Giardino Armonico, Orchestra - Giovanni Antonini, Conductor - - -
℗ 2009 Decca Music Group Limited
Farnace (Leonardo Vinci)
Cecilia Bartoli, Mezzo-Soprano - Il Giardino Armonico, Orchestra - Giovanni Antonini, Conductor - - -
℗ 2009 Decca Music Group Limited
La Morte d'Abel (Antonio Caldara)
Cecilia Bartoli, Mezzo-Soprano - Il Giardino Armonico, Orchestra - Giovanni Antonini, Conductor - - -
℗ 2009 Decca Music Group Limited
DISCO 2
Artaserse (Riccardo Broschi)
Cecilia Bartoli, Mezzo-Soprano - Il Giardino Armonico, Orchestra - Giovanni Antonini, Conductor - - -
℗ 2009 Decca Music Group Limited
Serse, HWV 40 / Act 1 (Georg Friedrich Händel)
Cecilia Bartoli, Mezzo-Soprano - Il Giardino Armonico, Orchestra - Giovanni Antonini, Conductor - - -
℗ 2009 Decca Music Group Limited
Merope (Geminiano Giacomelli)
Cecilia Bartoli, Mezzo-Soprano - Il Giardino Armonico, Orchestra - Giovanni Antonini, Conductor - - -
℗ 2009 Decca Music Group Limited
Approfondimenti
It has been a long three years since Cecilia Bartoli's previous release, Maria, brought nineteenth century coloratura Maria Malibran into the public consciousness. Decca's Sacrificium -- which reunites Bartoli with expert period band Il Giardino Armonico for the first time since 1999's The Vivaldi Album -- certainly makes clear that it was well worth the wait. In keeping with her long series of themed collections of opera arias, in this release Bartoli explores literature associated with the long lost vocal range of the castrati, male singers who were surgically altered in puberty in order to retain the high end of their voices into adulthood. The outlawing of castrati in Italy in 1870 brought this vicious practice to an end, but it also condemned two centuries' worth of operatic and sacred music to obscurity owing to the unsuitability of ordinary voices to sing in this special range; since then, a number of male countertenors have come to grips with it, with varying degrees of success, and an increasing number of females -- usually altos -- have been adopting castrato literature, as well. Bartoli -- a mezzo-soprano -- has got an amazing top end, well demonstrated in the earlier Maria release, but here she exhibits the bottom of her range to stunning effect; at one point when she dips down low in Francesco Araia's aria "Cadrò, ma qual si mira," Bartoli sounds like a man. While there are plenty of male singers who can approximate female voice, for it to go the other way around is indeed rare.
Also rare are the 12 selections on the main disc, every one of them a premiere recording of some kind. Bartoli has long established herself as an advocate for neglected or little known literature, and there is such a wealth of unused castrato literature that coming by such material probably wasn't difficult, but it also seems the album's producers were quite careful in finding examples that were representative of the theme, musically challenging for Bartoli and of generally excellent quality; even Il Giardino Armonico gets a great workout in "Nobil onda," an aria from Nicola Porpora's 1723 opera Adelaide. It is Porpora who emerges from this material as the champion composer for castrati, which is gratifying; an increasing number of Porpora releases in the times leading up to Sacrificium makes clear that he was one of the greats among Western composers and it's nice to see a major label like Decca pay some homage to him. However, Sacrificium's compilers have not lost sight of the unique talents of the star performer; no one would accuse Porpora's "Usignolo sventurato" from the opera Siface as being a great aria, with its limited range and texture. However, Bartoli's sensuous delivery and bold characterization of the piece makes something very special out of it, a major highlight of the program.
Bartoli's voice is of a quality that cuts through the veils of history and delivers this obscure music with absolute perfection; Decca's Sacrificium should easily please all comers.
© TiVo
A proposito dell'album
- 2 disco(i) - 15 traccia(e)
- Durata totale: 01:39:02
- 1 Libretto digitale
- Artisti principali: Cecilia Bartoli Il Giardino Armonico Giovanni Antonini
- Compositore: Various Composers
- Etichetta: Decca Music Group Ltd.
- Genere: Classica Musica vocale (sacra e profana)
© 2009 Decca Music Group Limited ℗ 2009 Decca Music Group Limited
Migliorare le informazioni sugli albumPerché acquistare su Qobuz
-
Ascolta la tua musica in streaming o download
Acquista un album o una singola traccia. Oppure ascolta il nostro intero catalogo con i nostri abbonamenti streaming illimitati di alta qualità.
-
Zero DRM
I file scaricati ti appartengono, senza limiti d’uso. Puoi scaricarli tutte le volte che vuoi.
-
Scegli il formato più adatto a te
Scarica i tuoi acquisti in un'ampia varietà di formati (FLAC, ALAC, WAV, AIF ...) a seconda delle tue esigenze.
-
Ascolta i tuoi acquisti sulle nostre app
Scarica le app Qobuz per smartphone, tablet e computer e ascolta i tuoi acquisti dappertutto.