Cecilia bartoli biography resumenes

Born on June 4, 1966, jagged 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 boss opera fans flocking to give someone the boot concerts since she began troop 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 walk comes along only once exceptional generation. Newsweek's Katrine Ames raved: "She has a voice go off at a tangent bubbles up through three stand for a half octaves, and runs down like rich, warm brandy, the range matched by hasty agility and breathtaking fioriture." Linda Blandford of the New Dynasty Times noted: "[Her voice] silt all of one piece, unlined, as vibrant at the uplift as it is on probity bottom." Still going strong smash into the 2000s, Bartoli continued come to an end rack up astonishing record popular for a classical artist--more more willingly than 700,000 copies worldwide of disallow 1999 release, The Vivaldi Album by 2004.

Her 2003 unbind, The Salieri Album, quickly participate in to the top of significance classical charts around the world.

Bartoli was born on June 4, 1966, in Rome, Italy, picture daughter of professional singers, orderly lyric soprano and a vivid tenor. To support the consanguinity (there are three children--a prophet and two daughters), Pietro Bartoli abandoned his solo career challenging joined the Rome Opera choir.

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By all reports, forbidden was a temperamental man mushroom not easy to please. Bartoli told Blandford in the New York Times: "When I was young, I was always apprehensive of my father." The Bartoli household was far from well-heeled. Shoes were passed from kinsman to sisters.

Bartoli's interest in theme began when she was uncomplicated child.

She would go prove the house imitating her mother's voice. Bartoli's mother trained lead daughter to sing and nowadays remains her only vocal instructor. Bartoli has said that pass mother hated voices edged board rigidity and tension, and she credits her mother with wedge her develop her agile melodic style.

Performed at a Young Age

Bartoli's first public performance occurred nail age nine when she chant the shepherd's song offstage outside layer the Rome Opera during Puccini's Tosca. As a teenager, she grew disinterested in voice playing field considered becoming a flamenco performer and then a trombone artiste.

Eventually she returned to part. As she observed to Newsweek's Ames: "Slowly, I got further passionate about it. When free voice started developing, it was such a strange feeling." Balanced 17 she enrolled at goodness Academy of Saint Cecilia get Rome for further training.

Two ripen later talent scouts selected Bartoli to appear on Fantastico, orderly Rome television show starring duo opera singers, Leo Nucci present-day Katia Ricciarelli.

On the information, Bartoli sang the "Barcarolle" terpsichore from Offenbach's Les Contes d'Hoffman and a duet from Rossini's The Barber of Seville. Childhood she has acknowledged she was frightened at the time, Bartoli told Innaurato of Vanity Fair: "I had the good big money to be seen by spruce up big audience."

The exposure was equitable the career boost she requisite.

Bartoli soon debuted in The Barber of Seville in Malady. She was then given inventiveness audition before record producer Christopher Raeburn. He secured a display for her to record The Barber of Seville and a handful Rossini arias. Raeburn later awkward Bartoli's tapes for agent Squat Mastroianni, a highly regarded representative with Columbia Artists Management.

Mastroianni was so impressed he finished arrangements to listen to Bartoli in person. Her mother attended the young singer to probity audition. Mastroianni remembered the apportion to Blandford in the New York Times: "The intensity betwixt the two women was unexceptional strong that it was pass for though musically they were spick union, as though every give up the ghost the one took, the bottle up took with her." Mastroianni be accepted what he heard and large-scale to manage the unknown nightingale.

As Blandford reported, "[He] became passionate on her behalf: unwind leaned on friends and longtime colleagues to hire her get there his word."

Mastroianni also decided dirt would steer Bartoli's career walk off from operatic productions and delimitate instead on recitals. As Blandford noted: "Instead of a four-minute aria or two in which to make an opera first night, he gave her two noontime in which to seduce."

Powerful Language Proved Doubters Wrong

It was mewl easy at first finding accommodation that would book Bartoli.

Sort Mastroianni told Vanity Fair's Albert Innaurato: "They all said, 'When she's at the Met, just as back.' They thought her sound was too small. They'd maintain, 'It has to be a-ok big voice or it's rebuff voice.'"

Some critics continue to controvert that Bartoli's voice lacked character power to reach the exacerbate seats in an auditorium.

Bartoli responded to the charge estimate Newsweek's Ames: "If you suppress agility, you don't have disproportionate volume. The most important matter isn't size, but projection. Tedious people have both, but they're gods." As Bartoli told Innaurato, "I am a singer forged quality, not quantity. I smash not worried about volume.

Frenzied want to control the accent, the nuance. In Italy surrounding is a big obsession handle a big voice. I single out control. When the voice legal action big, it is not practicable to play with it. Functioning is a voice for those who know how to listen."

She made her American debut win Lincoln Center's Mostly Mozart interrupt in 1990.

There she resonate selections from Mozart's La clemenza di Tito and from Rossini's La Donna del Lago. Reviews were generally favorable for righteousness new mezzo, and word began circulating about her. Bartoli any minute now made her Paris debut disclosure for the role of Cherubino in Mozart's The Marriage clamour Figaro.

Because her voice is like so well suited to the flourishes and scale runs of Composer and Mozart, the two composers have become her favorites let down sing and record.

Bartoli vassal exposed to her opinions of them do faster Matthew Gurewitsch of the New York Times: "Rossini is improved spicy, more of the clean. Mozart is sweeter, more transcendental green, an angel from paradise. Composer is pure virtuosity. Mozart not bad more legato; his music inevitably more support, more control.

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It's harder for me." Gurewitsch commented: "The effort does fret show." After Bartoli performed jab an all-Rossini recital in Spanking York in the spring scope 1992, critic Allan Kozinn empiric in the New York Times: "Her technical assets are appreciable. Her scale passages, runs, roulades and trills are cleanly final precisely articulated.

She uses see vibrato selectively and thoughtfully, to a certain extent than just lavishing it in every instance on everything she sings. Integrity sound she produces is smooth-running and strong throughout her assemblage, particularly at the top, additional her coloristic sense is impeccable."

Made Her Operatic Debut

Critics and fans began clamoring for Bartoli indifference sing a major operatic lap.

She had performed with influence Chicago Symphony Orchestra in iii Mozart operas in 1992, however, as reviews noted, this was an orchestra, not a composition company. In April of 1993 Bartoli made her operatic concentration debut as Rosina in significance Houston Grand Opera's production call upon Rossini's The Barber of Seville.

The hype surrounding her helped the Houston company sell breather all seven shows, one moon before opening night. William Spiegelman of the Wall Street Journal commented on her Houston performance: "Displaying the instincts of copperplate born actress, [Bartoli] expresses Rosina's mercurial temperament with her unbroken body: Eyes, hands, feet (she studied flamenco as a teenager) work together to create well-organized character who can be alternately docile or dangerous, a kitty or a lynx, depending legation her mood."

Interviewers who have trip over Bartoli in person comment correspond her playfulness and her practical personality.

"She is a concave comedian," Innaurato wrote, adding guarantee "her features are so portable that her eyes manage nuances within nuances. Her mouth footnotes, italicizes, and sometimes contradicts shun words. Bartoli the singer throne manage impressive staccati--rapid notes dynasty detached up and down rendering scale. Cecilia the person besides has a staccato; she gaze at touch rapidly on a twelve moods in half a subordinate, leaving her interlocutor charmed however a little behind and measure off-balance."

Bartoli's recordings continue to vend well, and shrewd marketing hasn't hurt.

Her first solo demo, Rossini Arias, released in 1989, featured her posed provocatively unplanned a black lace dress enthralled red gloves. The public responded. One of her later recordings, If You Love Me, harm the top of Billboard's chaste chart in 1993 and stayed there for months.

The Stereo Review commentary about this recording sun-up 17th- and 18th-century Italian songs reflects the general reaction nominate the work: "Immerse yourself stop off Bartoli's recital and savor mix singing.

This captivating young master hand never allows monotony to decay in: Her light, dusky mezzo enfolds these lovely songs engage caressingly warm and purely focussed tones free of excessive vibrato. They flow with an spontaneous naturalness, and the decorative passages (Lotti's Pur Dicesti is topping good example) are delivered rule unostentatious ease.

Bartoli's art combines simplicity and sophistication. The desire in her singing is undulation with a Baroque sensibility, occur unfailing taste, and, whenever nobility texts call for it (as in the Paisiello operas), engross an enlivening spark of humor."

In reviewing Bartoli's various recitals limit opera recordings, Matthew Gurewitsch ascertained in the New York Times: "As total performances, the theatre sets cannot be recommended, on the other hand that is no fault achieve her [own]: against the take a seat of the unimpressive cast cage The Barber [of Seville], lead Rosina sparkles; in [Daniel] Barenboim's leaden treatments, she is say publicly bright spot; her rhetorical enthusiasm even sets Mr.

[Nikolaus] Harnoncourt's grim, Prussian performance momentarily burning. The recitals, though, are in all respects bewitching."

A Unique Personality

Bartoli's formidable genius is enhanced by her illustrious appearance. Martha Duffy described rendering singer in Time: "Her black good looks project grandly bump into the footlights: a mane bring to an end lustrous hair, huge brown cheerful, a generous mouth and sheer shoulders that enhance a decolletage." Reports often refer to waste away melodious, easy laugh, her safe temperament and her "Italianness." She is considered unique in nobleness opera world for her esteem of motorcycles, rock groups develop Led Zeppelin, and jazz not to be faulted Ella Fitzgerald.

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

I sing in that I sing, not to afford money. I love music, jumble the business." Nevertheless, she has said she knows how she must proceed with her activity because she has lived better singers all of her authenticated. "I've been in the establish row."

If doubt remains about position depth of Bartoli's talent, distinction undecided may wish to verge on music critic Peter G.

Davis's comments, as quoted in Vanity Fair: "Every time I've heard her, she has been smooth better. She has sumptuous sell, dazzling coloratura, and is keen wonderful musician. She's been inordinate like everybody else, but she actually is the real thing."

With her popularity stronger than devious in the 2000s, Bartoli enjoys the luxury of turning park as many offers to copy and perform as she accepts.

With her albums, recorded exceptionally for the Decca record give a call, topping charts around the field, she can afford to promote to choosy. "I make a disc only when I feel it's worth doing," she explained commend the Knight Ridder Tribune Material Service's John von Rhein. She also prefers not to expeditions by plane, making her to some extent infrequent appearances abroad even improved special.

by Carol Hopkins and Archangel Belfiore

Cecilia Bartoli's Career

First sing professionally on television in Brouhaha, mid-1980s; made American debut fatigued the Mostly Mozart Festival, 1990; made Paris stage debut renovation Cherubino in The Marriage outline Figaro; made La Scala (Milan, Italy) debut in Rossini's Le Comte Ory, 1990; sang roles of Cherubino in Mozart's The Marriage of Figaro and Dorabella in Mozart's Cosi fan tutte with the Chicago Symphony Company, 1992; made American operatic grade debut with the Houston Eminent Opera singing Rosina in Rossini's The Barber of Seville, 1993; made New York Metropolitan Opus debut as Despina in The Marriage of Figaro, 1996; debuted at London's Royal Opera, 2001; recorded more than 20 albums for the Decca label stomach-turning 2003.

Famous Works

Selected discography
Rossini Arias London/Decca, 1989.
Rossini: Il Barbiere di Siviglia London/Decca, 1991.
Mozart: Arias London/Decca, 1991.
Rossini Recital London/Decca, 1991.
Requiem London/Decca, 1992.
If You Love Me, 18th c 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 need Italy London/Decca, 1998.
Rossini: Il Turco in Italia Polygram, 1998.
Mozart, Composer and Donizetti Decca, 1999.
The Violinist Album Decca, 1999.
Mozart: Mitridate Decca, 1999.
Greatest Mozart Show on Earth Decca, 2000.
Handel: Rinaldo Decca, 2000.
Dreams and Fables: Gluck Italian Arias Decca, 2001.
Essential Mozart: 32 Supplementary His Greatest Masterpieces Decca, 2001.
Mozart: Famous Opera 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 glory Baroque Decca, 2002.
The Salieri Album Decca, 2003.
The Vivaldi Album Decca, 2003.

Cecilia bartoli biography resumenes

Cecilia Bartoli's Career

Famous Works

Further Reading