Ihr Warenkorb ist leer!

Genre :

Ähnliche Künstler

Die Alben

Ab
HI-RES21,49 €
CD14,99 €

Kammermusik - Erschienen am 10. November 2017 | Decca Music Group Ltd.

Hi-Res Booklet Auszeichnungen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik
Das Duell, in dem Cecilia Bartoli und die Cellistin Sol Gabetta sich gegenüberstehen, ist von sehr zarter Natur. Wenn man überhaupt von Gegenüberstellung sprechen kann. Denn die beiden Stars haben sich innerhalb des Barock-Repertoires für ein paar Arien entschieden, in denen die Komponisten eine festgeschriebene Partie für Cello eingebaut haben und die beiden Melodielinien sich so liebevoll über dem Klangteppich des Continuos oder des Orchesters ineinander verflechten. Albinoni, Caldara, Händel und so viele andere Komponisten wussten, wie gut sich die tiefe Stimme des Cellos und die luftig leichte Stimme des Soprans verstehen und haben sie so im Spiegelbildmuster, im Kontrastspiel oder anderen Spielarten zueinander geführt...Dieses überaus originelle Programm kommt hier nicht nur durch das große Talent seiner zwei Duellantinnen besonders gut zur Geltung, sondern auch durch das schöne Zusammenspiel der vom Geiger Andrés Gabetta angeführten Capella Gabetta, die sich überaus fair zeigen und keine der Duellantinnen mehr Bevorzugung schenken als der anderen. Wir brauchen auf dieser Platte also keinen Totschlag zu befürchten und freuen uns über dieses sehr originelle Album, das eine der schönsten Überraschungen des heranschleichenden Herbstes darstellt.
Ab
CD21,99 €

Opernauszüge - Erschienen am 1. Januar 2007 | Decca Music Group Ltd.

Auszeichnungen Choc du Monde de la Musique - Diapason d'or / Arte - RTL d'Or - Diamant d'Opéra
Ab
HI-RES34,99 €
CD24,99 €

Klassik - Erschienen am 21. Mai 2013 | Decca Music Group Ltd.

Hi-Res Booklet Auszeichnungen Choc de Classica - Choc Classica de l'année - Hi-Res 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
Ab
HI-RES21,49 €
CD14,99 €

Opernauszüge - Erschienen am 23. November 2018 | Decca Music Group Ltd.

Hi-Res Booklet Auszeichnungen Diapason d'or / Arte - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
Dieses neue Vivaldi-Album feiert ein doppeltes Jubiläum: 30 Jahre enge Zusammenarbeit zwischen Cecilia Bartoli und dem berühmten englischen Label Decca sowie 20 Jahre Entdeckung der ersten Oper von Vivaldi, die bei ihrer Erscheinung für Furore gesorgt hat. Cecilia Bartoli hat dieses Mal Giovanni Antonini und sein Ensemble Il Giardino Armonico im Stich gelassen, um französische Musiker als Partner zu wählen, die sich mit Vivaldis Musik bestens auskennen, so als ob sie damit die Universalität des roten Priesters unter Beweis stellen wollte. Jean-Christophe Spinosi und sein Ensemble Matheus haben mit ihrer Instrumentalmusik von Vivaldi von Anfang an auf sich aufmerksam gemacht. Zu Beginn ihrer Zusammenarbeit haben sie in München, Prag, Baden-Baden und Versailles fünf Konzerte gegeben, die natürlich dem venezianischen Komponisten gewidmet waren. Für ihre erste gemeinsame Aufnahme haben sie ein Dutzend Opernarien ausgewählt, von denen neun auf dem Album von 1999 nicht enthalten sind. Die übergroße Fülle von Vivaldis Opern bietet Solisten eine wahre Fundgrube, aus der sie leicht ein äußerst lebendiges Programm zusammenstellen und schönste Kleinode eines außergewöhnlich eloquenten Komponisten versammeln können, mit mitreißenden Melodien, die immer wieder in Staunen versetzen. Diese Ausgabe ist mit dem Booklet auch ein schönes Objekt (sie können es bei Qobuz herunterladen oder online lesen) mit wundervollen Portraitfotos von Cecilia Bartoli, die von der rumänischen Fotografin Vivienne Purdom realisiert wurden. Ihr Lebenswerk besteht darin, mit viel Talent große Musiker der klassischen Welt zu fotografieren. Herzlichen Glückwunsch zu diesem gelungenen Album! © François Hudry/Qobuz
Ab
HI-RES21,49 €
CD14,99 €

Klassik - Erschienen am 2. September 2013 | Decca Music Group Ltd.

Hi-Res Booklet Auszeichnungen Diapason d'or - Choc de Classica - Hi-Res 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
Ab
HI-RES21,49 €
CD14,99 €

Opernauszüge - Erschienen am 13. Oktober 2014 | Decca Music Group Ltd.

Hi-Res Booklet Auszeichnungen 5 de Diapason - Gramophone Editor's Choice - Diamant d'Opéra
Cecilia Bartoli nimmt uns mit auf eine Reise von Italien nach Russland und erzählt die Anfänge der Oper in Sankt Petersburg, initiiert durch die drei einflussreichen Zarinnen - Anna I., Elisabeth I. (Elisabeth Petrovna, Tochter von Peter dem Großen), und Katharina II. (Sophie Auguste Friederike von Anhalt-Zerbst), die in ihrem Land das Musikleben erweckt haben. Neben Musikern haben die drei Zarinnen auch mehrere italienische Komponisten angezogen - Franceso Araia zuerst, gefolgt u.a. von Manfredini und Cimarosa. Auch in diesem Album bringt Bartoli versteckte Schätze vergessener Komponisten ans Licht, wie beispielsweise Hermann Friedrich Raupach, der ursprünglich Hofcembalist war und sich dem Komponieren widmete, als sein Vorgänger Araia entlassen wurde. Dank den Archiven des Mariinsky-Theaters konnte Cecilia Bartoli diese Auswahl an Opernausschnitten zusammenstellen, die größtenteils bisher unveröffentlicht geblieben sind.
Ab
HI-RES34,99 €
CD24,99 €

Klassik - Erschienen am 24. September 2012 | Decca Music Group Ltd.

Hi-Res Booklet Auszeichnungen Diapason d'or / Arte - Choc de Classica - Hi-Res 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
Ab
CD24,99 €

Vokalmusik (weltlich und geistlich) - Erschienen am 1. Januar 2009 | Decca Music Group Ltd.

Booklet Auszeichnungen Diapason découverte - Choc de Classica
Ab
CD24,99 €

Klassik - Erschienen am 21. Mai 2013 | Decca Music Group Ltd.

Booklet Auszeichnungen 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
Ab
CD34,99 €

Klassik - Erschienen am 16. Oktober 2000 | Decca Music Group Ltd.

Auszeichnungen Gramophone Editor's Choice
Ab
HI-RES21,49 €
CD14,99 €

Weltliche Vokalmusik - Erschienen am 29. November 2019 | Decca

Hi-Res Booklet Auszeichnungen Diapason d'or / Arte
Ein gewagtes Cover. Es zeigt Cecilia Bartoli als Hermaphrodit, nackt und behaart, mit dichtem Bart und über ihre Schultern wallenden Haaren. Das Bild nährt den Mythos Farinelli, der im gleichnamigen Kinofilm mit zweifelhafter Sensationslust ausgeschlachtet wird. Demgegenüber präsentiert Patrick Barbier ihn in seinem schönen, dem berühmten neapolitanischen Kastraten gewidmeten Buch mit größter historischer Genauigkeit.Wir wissen, dass die heute verlorene Stimme der Kastraten das sensationssüchtige Publikum damals sehr faszinierte. Die sexuelle Ambiguität verlieh den Sängern eine besondere, mythologischer Gestalten würdige und aufgrund ihrer Zwitterhaftigkeit vermutlich sehr erotische Aura. Dafür empfängliche Musikliebhaber sind seither nicht ausgestorben. Sie erfreuen sich heute an den Meisterleistungen der italienischen Sängerin sowohl auf ihren Alben als auch im Konzert.Für dieses neue Werk zu Ehren Farinellis hat Cecilia Bartoli bekannte Arien aus dem Repertoire des berühmten Sängers ausgewählt und dabei zwischen vokaler Pyrotechnik – ihrem Markenzeichen – und eher introvertierten, dramatischen Arien abgewechselt. Porpora, Hasse, Giacomelli, Caldara und Riccardo Broschi, Farinellis Bruder, sind hier zu einem Feuerwerk zusammengestellt, das versucht, wenn nicht eine hypothetische Stimme wiederzufinden, so doch wenigstens, dank der Kunstfertigkeit und Leidenschaft, die Cecilia Bartoli in alles einbringt, die von dieser Stimme hervorgerufenen Schauer auszulösen. © François Hudry/Qobuz
Ab
CD14,99 €

Klassik - Erschienen am 1. Januar 1991 | Decca Music Group Ltd.

Auszeichnungen Qobuz' Schallplattensammlung
Ab
CD14,99 €

Klassik - Erschienen am 1. Januar 1989 | Decca Music Group Ltd.

Auszeichnungen 5 de Diapason
Ab
HI-RES21,49 €
CD14,99 €

Klassik - Erschienen am 18. Dezember 2020 | Decca Music Group Ltd.

Hi-Res Booklet
One of the great voices of the last thirty years, Cecilia Bartoli’s discographic success is immeasurable. Since her first recitals at the end of the 80s, her decisive Vivaldi in 1999 with Il Giardino Armonico and her latest Farinelli, Bartoli presents here a small selection of her best Baroque interpretations. “Queen of Baroque” brings together some of the Roman singer’s musical pleasures as well as some major discoveries from the 17th and 18th centuries including some world firsts from Leonardo da Vinci and Agostino Steffani. A simple pleasure that we can by no means refuse. © Qobuz 
Ab
CD21,99 €

Klassik - Erschienen am 1. Januar 1992 | Decca Music Group Ltd.

Booklet
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
Ab
CD13,99 €

Klassik - Erschienen am 1. Januar 1992 | Decca Music Group Ltd.

Ab
CD24,99 €

Klassik - Erschienen am 21. September 1993 | Decca Music Group Ltd.

Ab
CD14,99 €

Klassik - Erschienen am 1. Januar 1999 | Decca Music Group Ltd.

Ab
CD13,99 €

Klassik - Erschienen am 1. Januar 1998 | Decca Music Group Ltd.

Ab
CD24,99 €

Klassik - Erschienen am 2. März 1998 | Decca Music Group Ltd.

Der Interpret

Cecilia Bartoli im Magazin
  • Bartoli ist Farinelli
    Bartoli ist Farinelli Für ihr neues Album verzaubert die Mezzosopranistin die großen Arien des Kastraten und spielt mit der Pyrotechnik der Stimme. Fantastisch!
  • Begegnung mit Cecilia Bartoli
    Begegnung mit Cecilia Bartoli Anlässlich der Veröffentlichung ihres Albums St. Petersburg, hat Qobuz die große römische Mezzo-Sopranistin Cecilia Bartoli getroffen. Sie widmet sich hier den versteckten Schätzen, die italienisch...