Cecilia Bartoli - arias and recitals custom collection 3/3(EAC LOG FLAC+CUE & original scans)2009 - Sacrificium (Cecilia Bartoli, Il Giardino Armonico) digibook2010 - Sospiri (Cecilia Bartoli, VA)2012 - Mission (Cecilia Bartoli, Diego Fasolis) digibook2014 - St Petersburg (Cecilia Bartoli, Diego Fasolis) digibook2017 - Dolce Duello (Cecilia Bartoli, Sol Gabetta) digibook2018 - Antonio Vivaldi (Cecilia Bartoli, Jean-Christophe Spinosi) digibookbonuses:1993 - Pergolesi - Stabat Mater. Salve Regina; A. Scarlatti - Salve Regina (June Anderson, Cecilia Bartoli, Charles Dutoit)1997 - A Hymn for the World (Cecilia Bartoli, Andrea Bocelli, Myung Whun Chung)2013 - Steffani - Stabat Mater (Cecilia Bartoli, Nuria Rial, Yetzabel Arias Fernandez, Elena Carzaniga, Franco Fagioli, Daniel Behle, Julian Pregardien, Salvo Vitale; Diego Fasolis).
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This is a gentle kind of duet, which sets up Cecilia Bartoli “opposite” cellist Sol Gabetta, if we can speak of “opposition”. The two stars chose a few airs out of the baroque repertoire where the composers have included a part for cello, and the two lines intertwine against the backdrop of the continuo or the orchestra. HD Music » FLAC 16 bit » Cecilia Bartoli - Farinelli (2019) FLAC Cecilia Bartoli - Farinelli (2019) FLAC FLAC 16 bit / Pop 3-12-2019, 17:01 72 0 Lira All albums Cecilia Bartoli.
This compilation of selections from a number of '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 '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 throws herself into all her projects with absolute abandon.
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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 '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 '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 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. May not make fans of skeptics, but listeners devoted to 's often idiosyncratic approach are likely to be delighted with the album.
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