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Musica da camera - Uscito il 10 novembre 2017 | Decca Music Group Ltd.

Hi-Res Libretto Riconoscimenti 5 de Diapason - Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik
È un duello dolcissimo quello che «oppone» in questo album Cecilia Bartoli alla violoncellista Sol Gabetta, se di opposizione si può parlare. Le due star hanno infatti scelto, nel repertorio barocco, delle arie al cui interno i compositori hanno inserito una parte obbligata di violoncello, con le due righe che si intersecano amabilmente sul tappeto del continuo o dell’orchestra. Albinoni, Caldara, Händel e molti altri hanno spesso sposato la voce grave del violoncello e quella, eterea, della soprano, come in un gioco di specchi, di contrasti, di je-t’aime-moi-non-plus… Ad allietare questo programma così singolare c’è, oltre al talento evidente delle due duellanti, l’affiatamento dei testimoni della Cappella Gabetta diretti dal violinista Andrés Gabetta – certo, non era consuetudine, nei duelli di una volta, che i testimoni fossero dei membri della famiglia ma, nel caso specifico, sono di un’imparzialità totale. Fatto sta che non vi sono morti! Un album estremamente originale, dunque, nonché una delle più belle sorprese di quest’autunno.
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Estratti d'opera - Uscito il 01 gennaio 2007 | Decca Music Group Ltd.

Riconoscimenti Choc du Monde de la Musique - Diapason d'or / Arte - RTL d'Or - Diamant d'Opéra
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Classica - Uscito il 21 maggio 2013 | Decca Music Group Ltd.

Hi-Res Libretto Riconoscimenti Choc de Classica - Choc Classica de l'année - HD Audio
Performed on early 19th century instruments and presented with brisk tempos, bright tone colors, and a lean ensemble sound, this 2013 Decca recording of Vincenzo Bellini's tragic opera Norma strives to re-create the authentic vocal style and instrumental sonorities that would have been heard at its premiere. This reading is based on a critical study of the manuscript and other sources by Maurizio Biondi and Riccardo Minasi. To the extent that Cecilia Bartoli is able to re-create the historical role of Norma and remove the modern associations that came with time (especially from the 20th century performances by Maria Callas, Joan Sutherland, and Montserrat Caballé), she impresses with a lighter voiced and agile heroine who is wholly believable in this highly florid bel canto role. Bartoli is joined by Sumi Jo as Adalgisa, John Osborn as Pollione, and Michele Pertusi as Oroveso, and this cast was chosen to match their vocal qualities and to create expressive balance. The Orchestra La Scintilla is conducted by Giovanni Antonini, who communicates a lively and sometimes pugnacious interpretation of the score, notably in the incisive playing of the winds and timpani. While there is much to praise in this recording, purists may raise an eyebrow over the lowered pitch of the entire opera, tuned to A430. Furthermore, they may be disturbed by the unexpected modulation at the opening of "Casta diva" and myriad embellishments in its second verse, where Bartoli imitates the dazzling effects that were expected of a singer in Bellini's day. However, a real drawback is the sound of the recording, which was made in a church, necessitating extremely close microphone placement and audio enhancements that sound artificially mixed. Even so, considering the merits of Bartoli's bold reassessment of this time-honored role, and the complete rethinking of performance practices to bring them in line with the latest scholarship, this recording deserves a serious hearing, even if it doesn't win over all traditionalists or replace cherished performances from the past. © TiVo
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Estratti d'opera - Uscito il 23 novembre 2018 | Decca Music Group Ltd.

Hi-Res Libretto Riconoscimenti Diapason d'or / Arte - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
Questo nuovo album su Vivaldi segna una doppia ricorrenza, quella degli ormai trent’anni della stretta collaborazione fra Cecilia Bartoli e la celebre etichetta inglese Decca e i vent’anni di un’opera prima vivaldiana che all’uscita aveva fatto furore. Abbandonando stavolta Giovanni Antonini e il suo ensemble Il Giardino Armonico, Cecilia Bartoli ha scelto musicisti francesi esperti nella musica di Vivaldi, come a mostrare, in caso ve ne fosse bisogno, l’universalità della musica del Prete Rosso. Jean-Christophe Spinosi e il suo Ensemble Matheus si sono infatti distinti fin dagl’inizi nella musica strumentale di Vivaldi.La loro collaborazione è cominciata con cinque concerti, naturalmente dedicati al compositore veneziano, a Monaco di Baviera, Praga, Baden-Baden e Versailles. Per la prima incisione in comune hanno scelto una decina di arie tratte da opere, nove delle quali non comparivano nell’album del 1999. La profusione delle opere di Vivaldi è un pozzo senza fondo per i recitalisti, che possono comporre agevolmente, come accade qui, un programma estremamente vivo che riunisce le più belle perle di un compositore straordinariamente prolifico, la cui verve melodica è costante motivo di stupore.Una pubblicazione che è anche un oggetto curato (consultabile sul vostro Qobuz), con un album fotografico che contiene bei ritratti di Cecilia Bartoli, realizzati dalla fotografa Vivianne Purdom, che ha votato la propria esistenza ad immortalare con talento i grandi musicisti del pianeta classico. Buon compleanno! © François Hudry/Qobuz
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Classica - Uscito il 02 settembre 2013 | Decca Music Group Ltd.

Hi-Res Libretto Riconoscimenti Diapason d'or - Choc de Classica - HD Audio
Agostino Steffani, roughly contemporary with Arcangelo Corelli, worked mostly in Germany and was known across the continent for his operatic music. Some of it was championed by mezzo soprano Cecilia Bartoli on her daring Mission album. Now Bartoli, properly more in the background as part of a sacred-music ensemble, returns with an album of Steffani's religious music, for which he was equally renowned. She joins a group of fine soloists, many of whom will be familiar to early music devotees and quite worthy of the broader audience association with Bartoli and the major Decca label will bring. The vigorous instrumental ensemble I Barocchisti, its leader Diego Fasolis, and the commendably sizable Swiss Radio Choir are all top-notch. As for the music itself, the six sacred pieces (psalms, antiphons, motets) that conclude the album give the best idea of the diversity of Steffani's style. Some are partly in the pure Palestrina traditional unaccompanied choral style; some are in the Italian style of the middle 17th century with grand oppositions of choral groups; and some reflect up-to-the-minute solo vocal writing. Bartoli fans will naturally gravitate toward an example of the latter, Non plus me ligate (track 9), and it's gorgeous. But Bartoli, whose voice has taken on some fascinating burnished tones that she is allowed to let speak for themselves here, is also featured prominently in the main attraction, the Stabat Mater, which stands somewhat apart from the rest of the music and fell into disuse soon after Steffani's death, probably because it was already somewhat old-fashioned. But it is old-fashioned in the way that Bach's music is old-fashioned. Like Pergolesi's setting of this somber text, it was the composer's swan song, written at the end of his long life, and it is a tragic work indeed. It might be beautifully paired in performance with the Pergolesi work. Bartoli and her gorgeous lower register have plenty to do, but the spotlight at the end falls on the male soloists, Daniel Behle, Julian Prégardien, and Salvo Vitale, whose trio work is positively sepulchral. This is a gorgeous performance of a work unjustly neglected by music history. Highly recommended. © TiVo
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Estratti d'opera - Uscito il 13 ottobre 2014 | Decca Music Group Ltd.

Hi-Res Libretto Riconoscimenti 5 de Diapason - Gramophone Editor's Choice - Diamant d'Opéra
For the later part of her career, Italian mezzo-soprano Cecilia Bartoli has apparently settled on a campaign of major conceptual releases covering all-but-unknown repertory, and St. Petersburg fits right in. It's a collection of arias from operas written in the second half of the 18th century for the Russian imperial court, which had imported the best Italian and German composers money could buy. The names of all but Mozart's contemporary Domenico Cimarosa are unknown today. Most of the arias are in Italian, but a couple are in Russian, and to untutored ears Bartoli brings her trademark passion to them. This is the kind of release where one can quibble with any number of details. Bartoli sounds thick in some places, strained in others. The material is a bit uneven, with especially the last two pieces creating a bit of a letdown, although much of it does indeed live up to major-forgotten-works billing. The booklet brings up the Catherine the Great horse legend for no very good reason. Yet, as so often with Bartoli, the whole adds up to so much more than the sum of the objections. She is fearless in many ways here, not just in convincingly bringing home repertory her listeners will never have heard, but in blowing past classifications of vocal range: Bartoli may conventionally be seen as a mezzo, but the material here ranges from full-blown opera seria soprano almost down to contralto in a few cases, where Bartoli's voice takes on a lovely burnished tone. Whatever faults you might find, this is tremendously exciting stuff, not boring for a second. © TiVo
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Classica - Uscito il 24 settembre 2012 | Decca Music Group Ltd.

Hi-Res Libretto Riconoscimenti Diapason d'or / Arte - Choc de Classica - HD Audio
Don't hate this album because it has been beautifully marketed, for if you do you'll miss out on something extraordinary. Italian mezzo-soprano Cecilia Bartoli reportedly worked on it for three years, even suggesting a mystery-novel tie-in, and her label, Decca, kept the contents under wraps until the album's release, dropping hints via Internet videos. When the album appeared, it was issued in a limited-edition hardbound package including numerous essays covering aspects of the life of the composer involved, Agostino Steffani. These range from the cogent and helpful (one details Steffani's influence on Handel) to the probably woolly, shading off into the fictional treatment that's also associated with the project. The album's title reflects the fact that Steffani was a composer-diplomat, born in Italy but active for much of his life in Germany, and surrounded by various kinds of intrigue that seem to figure tangentially into some of the arias on the album. This is all intriguing, and if it spawns a feature film somewhere along the way that's all to the good, but the best news is that none of it is necessary; you can buy the album online or in its plain jewel-box version, familiarize yourself briefly with what it's about, and then be blown away. Perhaps part of Bartoli's "mission" was to elevate the music of the little-known Steffani; if so, she succeeds brilliantly, and one hopes that the release will be followed by full productions of some of Steffani's operas. Stylistically he's all over the map, with some barn-burning virtuoso arias mixed in with splendid trumpet-dominated pieces (Bartoli's interaction here with conductor Diego Fasolis and his orchestra I Barocchisti is a thing of wonder), and shorter tunes that sound a bit like Purcell. Bartoli is on top of every note, and she combines absolute technical mastery with emotional involvement to the hilt in the music's mostly flamboyantly romantic texts. This is a bravura performance that lives up to its considerable hype, and it marks a new milestone for the historical-performance movement, which finally gets a vocalist who can match the efforts of its more imaginative conductors. © TiVo
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Musica vocale (sacra e profana) - Uscito il 01 gennaio 2009 | Decca Music Group Ltd.

Libretto Riconoscimenti Diapason découverte - Choc de Classica
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Classica - Uscito il 21 maggio 2013 | Decca Music Group Ltd.

Libretto Riconoscimenti Choc de Classica - Choc Classica de l'année
Performed on early 19th century instruments and presented with brisk tempos, bright tone colors, and a lean ensemble sound, this 2013 Decca recording of Vincenzo Bellini's tragic opera Norma strives to re-create the authentic vocal style and instrumental sonorities that would have been heard at its premiere. This reading is based on a critical study of the manuscript and other sources by Maurizio Biondi and Riccardo Minasi. To the extent that Cecilia Bartoli is able to re-create the historical role of Norma and remove the modern associations that came with time (especially from the 20th century performances by Maria Callas, Joan Sutherland, and Montserrat Caballé), she impresses with a lighter voiced and agile heroine who is wholly believable in this highly florid bel canto role. Bartoli is joined by Sumi Jo as Adalgisa, John Osborn as Pollione, and Michele Pertusi as Oroveso, and this cast was chosen to match their vocal qualities and to create expressive balance. The Orchestra La Scintilla is conducted by Giovanni Antonini, who communicates a lively and sometimes pugnacious interpretation of the score, notably in the incisive playing of the winds and timpani. While there is much to praise in this recording, purists may raise an eyebrow over the lowered pitch of the entire opera, tuned to A430. Furthermore, they may be disturbed by the unexpected modulation at the opening of "Casta diva" and myriad embellishments in its second verse, where Bartoli imitates the dazzling effects that were expected of a singer in Bellini's day. However, a real drawback is the sound of the recording, which was made in a church, necessitating extremely close microphone placement and audio enhancements that sound artificially mixed. Even so, considering the merits of Bartoli's bold reassessment of this time-honored role, and the complete rethinking of performance practices to bring them in line with the latest scholarship, this recording deserves a serious hearing, even if it doesn't win over all traditionalists or replace cherished performances from the past. © TiVo
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Classica - Uscito il 16 ottobre 2000 | Decca Music Group Ltd.

Riconoscimenti Gramophone Editor's Choice
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Musica vocale profana - Uscito il 29 novembre 2019 | Decca

Hi-Res Libretto Riconoscimenti Diapason d'or / Arte
Ha voluto osare. Cecilia Bartoli appare sulla copertina di questo album nuda androgina, con barba e capelli fino alle spalle, immergendosi così nella leggenda del famoso castrato napoletano Carlo Broschi, "Farinelli", esplorato negli ultimi anni con discutibile sensazionalismo nel cinema ma analizzato con molta più precisione storica da libri come quello di Patrick Barbier.Le voci ormai perdute dei castrati hanno fatto impazzire il pubblico del loro tempo, sommergendo i suoi artefici in una sorta di aura quasi mitologica, grazie anche al loro genere ambiguo, impregnato di un erotismo misterioso. Quel pubblico di un tempo si riflette in molti degli amanti della musica di oggi, che vengono in massa ad ascoltare le prodezze vocali di Bartoli in concerto e su disco.Per il suo nuovo album dedicato a Farinelli, Cecilia Bartoli ha scelto una serie di note melodie che il cantante ha interpretato ai suoi tempi, alternando momenti pirotecnici a pagine più introspettive. Porpora, Hasse, Giacomelli, Caldara o Riccardo Broschi (fratello di Farinelli) si susseguono in uno spettacolo accattivante che non cerca di riprodurre l'ipotetica voce del protagonista, ma fa rivivere le sensazioni che ha prodotto nel suo pubblico grazie alla sua passione e dedizione. François Hudry/Qobuz
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Classica - Uscito il 01 gennaio 1991 | Decca Music Group Ltd.

Riconoscimenti La discoteca ideale Qobuz
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Classica - Uscito il 01 gennaio 1989 | Decca Music Group Ltd.

Riconoscimenti 5 de Diapason
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Classica - Uscito il 18 dicembre 2020 | Decca Music Group Ltd.

Hi-Res Libretto
Cecilia Bartoli è una delle più grandi voci degli ultimi trent'anni. Il suo successo discografico non si è mai interrotto, dai suoi primi recital di fine anni '80 fino all'ultimo Farinelli, e naturalmente il suo decisivo Vivaldi del 1999, con Il Giardino armonico. Oggi presenta una piccola selezione delle sue migliori interpretazioni barocche. "Queen of Baroque" raccoglie alcuni dei diletti personali della cantante romana, oltre a notevoli scoperte del XVII e XVIII secolo, tra cui due inediti in anteprima mondiale di Leonardo Vinci e Agostino Steffani. Un piacere puro e semplice, di cui nessuno dovrebbe privarsi. © Qobuz
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Classica - Uscito il 01 gennaio 1992 | Decca Music Group Ltd.

Libretto
This compilation of selections from a number of Cecilia Bartoli's recitals from between 1994 and 2009, plus several newly released tracks, is unified by the theme of sighs, "sospiri." The music expresses a variety of moods, including sighs of resignation, relaxation, grief, ecstasy, and romantic pleasure. The first of the two CDs is devoted to secular music, much of it operatic, and the second to sacred pieces. The album should offer few surprises to anyone who has a preconceived opinion of Bartoli's vocalism. Fans of her exuberant personality and dramatic temperament will find just what they would expect, as will detractors who are put off by what they feel to be her excessive flamboyance. In any case, whatever one's opinion of the outcome, there's no denying that Bartoli throws herself into all her projects with absolute abandon. She is so deeply invested in wringing the emotional truth out of a piece that she is not afraid to let her voice stray from the principles of bel canto singing that require that tonal beauty be maintained at all times. An example is her handling of the extraordinary, anguished 10-minute scene from Geminiano Giacomelli's Merope, which exploits her remarkable range, nuanced expressiveness, technical command, and soaring, floating tone, and in which she at points practically howls with animalistic rage. Her "Casta Diva" is sung nearly entirely sotto voce, almost whispered, a controversial choice that departs from usual interpretations, but that she convincingly puts across as valid. Her performance of "Una voca poco fa" is rather disingenuously billed as "first time on CD," promising an entirely new version of Rossini's popular aria, but in fact it is the usual piece, only very freely ornamented. Other performances are less radically original, including "Ombra mai fu," "Voi che sapete," and most of the sacred selections, but Bartoli brings her trademark depth of feeling to them. The album is beautifully engineered, with sound that is consistently first-rate, and the various accompanying ensembles are never less than stellar. Sospiri may not make fans of skeptics, but listeners devoted to Bartoli's often idiosyncratic approach are likely to be delighted with the album. © TiVo
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Classica - Uscito il 01 gennaio 1992 | Decca Music Group Ltd.

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Classica - Uscito il 21 settembre 1993 | Decca Music Group Ltd.

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Classica - Uscito il 01 gennaio 1999 | Decca Music Group Ltd.

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Classica - Uscito il 01 gennaio 1998 | Decca Music Group Ltd.

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Classica - Uscito il 02 marzo 1998 | Decca Music Group Ltd.