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Cecilia Bartoli – Sospiri (2011)

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Cecilia Bartoli – Sospiri (2011)

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1. Handel: "Lascia La Spina, Cogli La Rosa" Il Trionfo del Tempo e del Disinganno
2. Vivaldi: "Gelido In Ogni Vena" (Excerpt) Farnace
3. Giacomelli: "Sposa Non Mi Conosci" Merope
4. Caldara: "Quel Buon Pastor" La morte d'Abel
5. Mozart: "Voi Che Sapete" Le nozze di Figaro
6. Mozart: "La Ci Darem La Mano" Don Giovanni with Bryn Terfel (bass - baritone) play
7. Mozart: "Laudate Dominum" Vesperae Solennes
8. Bellini: "Ah, Non Credea Mirarti" La sonnambula with Juan Diego Florez (tenor)
9. Persiani: "Cari Giorni" Ines de Castro play
10. Rossini: "Una Voce Poco Fa" Il barbiere di Siviglia
11. Bellini: "Casta Diva" Norma
12. Franck: Panis Angelicus
13. Faure: Requiem

 

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. ---Stephen Eddins, Rovi

 

Cecilia jest kochana przez publiczność na całym świecie. Bartoli, obdarzona sopranem koloraturowym o niezwykłym, charakterystycznym i rozpoznawalnym timbre, ma świetny zmysł dramatyczny i wielki talent aktorski. Zadebiutowała w wieku dwudziestu dwu lat i podbiła publiczność operową zdolnością do aksamitnego łagodnego kończenia fraz, niezwykłym warsztatem wokalnym, wrażliwością, zróżnicowanymi sposobami artykulacji i energicznymi, brawurowymi występami.

Repertuar Cecilii Bartoli jest niezwykle bogaty. Sopranistka sięga i po utwory kompozytorów wczesnego baroku (Giulio Caccini) jak i klasycyzmu i romantyzmu (Hector Berlioz, Vincenzo Bellini i Gioacchino Rossini). Sławę przyniosły jej dzieła późnego baroku i klasycyzmu (w tym mało znane arie Antonio Salieriego oraz muzyka wokalna Antonio Vivaldiego). Cecilia szkoliła się w tradycji wykonawczej muzyki doby baroku i klasycyzmu, studiując rękopisy partytur z epoki.

„Sospiri” ukazuje w pełni kunszt wokalny Cecilii Bartoli - piękno jej głosu, wrażliwość i emocjonalność. Artystka ceniona jest nie tylko za wokalne fajerwerki, ale również za umiejętność frazowania i precyzję wykonania najdrobniejszych pianinissimi. Na wydawnictwie zostały zebrane najpiękniejsze i najbardziej znane arie Mozarta i Handla, skarby bel canto Belliniego, Rossiniego i Vivaldiego oraz muzykę, którą Cecilia odkryła ponownie dla świata na swoich ostatnich albumach. Jedynym wcześniej niepublikowanym nagraniem jest nowa interpretacja arii Rosiny „Una voce poco fa” z „Cyrulika Sewilskiego” - opery buffa Gioacchino Rossiniego – ta rola przyniosła jej sławę i status gwiazdy. Utwór został nagrany w trakcie sesji do płyty „Maria” i towarzyszy jej w nim Orchestra La Scintilla grająca na instrumentach z epoki.

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Last Updated (Monday, 04 February 2013 20:10)

 

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