Cecilia Bartoli - The Vivaldi Album / Il Giardino Armonico

Editorial Reviews
Amazon.com
Mezzo-soprano Cecilia Bartoli could easily rest on her laurels as one of today's most charismatic, characterful singers for her lively portrayals of Mozart and Rossini heroines. But it's been particularly exciting to observe her growth as an artist in exploring the exuberant world of Baroque opera, with its range of pyrotechnic demands--both vocal and emotional. Bartoli's show-stopping virtuosity in a Vivaldi aria from her Live in Italy recital gave a tantalizing sample of her finesse in that style. For The Vivaldi Album (originally released in 1999), Bartoli conducted extensive research into the composer's manuscripts (a documentary tracing her quest has been made).

Although he's best known for his concertos--in typically Baroque fashion, two of the arias here, in fact, recycle material from The Four Seasons--Antonio Vivaldi was a ferociously prolific composer of operas for the cutting-edge theaters of his time, and the arias gathered here demonstrate the word-painting magic of his music, from the sylvan setting of dueting flageolets in "Di due rai languire costante" to the storm-tossed passions of "Anch'il mar par che sommerga," where Bartoli spins out ripples of rapid-fire coloratura with a gravity-defying accuracy that will leave your head spinning. In addition to many such examples of vocal acrobatics, Bartoli brings exquisite nuance and limpid tone to the delicate echo effects of "Zeffiretti, che sussurrate," and there's no better test for the remarkable flexibility of her range--full and dusky at the bottom and thrilling at the top--than the huge intervallic leaps of "Dopo un'orrida procella." With her naturally large voice, Bartoli can at times tend to histrionic excess (in the recitative to the short aria from "L'Orlando finto pazzo," for example), but the expressive color of her phrasing is wonderfully matched throughout by the Giardino Armonico's lively panache. All power to Bartoli in her goal of reviving this neglected aspect of Vivaldi's output. The reissue includes additional photos and text, packaged together as a visually enticing booklet to accompany this splendid CD. --Thomas May

Tracks:

Dell'aura al sussurrar
Dopo un'orrida procella
Di due rai languire costante
L'Orlando finto pazzo: Qual favellar? ... Andero, volero, gridero
Zeffiretti, che sussurrate
La fida ninfa: Alma oppressa
La fida ninfa: Dite, oime
Giustino: Sventurata navicella
Giustino: Sorte, che m'invitasti ... Ho nel petto un cor si forte
L'Olimpiade: Tra le follie ... Siam navi all'onde algenti
Farnace: Gelido in ogni vena
Anch'il mar par che sommerga
Teuzzone: Di trombe guerriere

Amazon.com

Mezzo Cecilia Bartoli could easily rest on her laurels as one of today's most charismatic, characterful singers for her lively portrayals of Mozart and Rossini heroines. But it's been particularly exciting to observe her growth as an artist in exploring the exuberant world of baroque opera, with its range of pyrotechnic demands--both vocal and emotional. Bartoli's show-stopping virtuosity in a Vivaldi aria from her Live in Italy recital gave a tantalizing sample of her finesse in that style. For The Vivaldi Album, Bartoli conducted extensive research into the composer's manuscripts, (a documentary tracing her quest is planned for subsequent international screening). Although he's best known for his concertos--in typically baroque fashion, two of the arias in fact recycle material from The Four Seasons--Vivaldi was a ferociously prolific composer of operas for the cutting-edge theaters of his time, and the arias gathered here demonstrate the word-painting magic of his music, from the sylvan setting of dueting flageolets in "Di due rai languire costante" to the storm-tossed passions of "Anch'il mar par che sommerga," where Bartoli spins out ripples of rapid-fire coloratura with a gravity-defying accuracy that will leave your head spinning. In addition to many such examples of vocal acrobatics, Bartoli brings exquisite nuance and limpid tone to the delicate echo effects of "Zeffiretti, che sussurrate," and there's no better test for the remarkable flexibility of her range--full and dusky at the bottom and thrilling at the top--than the huge intervallic leaps of "Dopo un'orrida procella." With her naturally large voice, Bartoli can at times tend to histrionic excess (in the recitative to the short aria from "L'Orlando finto pazzo"), but the expressive color of her phrasing is wonderfully matched throughout by the Giardino Armonico's lively panache. All power to Bartoli in her goal of reviving this neglected aspect of Vivaldi's output. --Thomas May

Customer Reviews:

Cecilia Bartoli brings Baroque music to life.......2005-08-24

This album is so good that it has converted me to liking Vivaldi! I'm a fan of other Baroque composers such as Bach, Telemann, Couperin and Handel but had never really appreciated Vivaldi until I heard this album. Cecilia's technical experise and her intense interpretation makes this album a delight to listen to. She brings Vivaldi's arias to life as I've heard no other performer manage to do so. A brilliant album that I listen to again and again.

A Revelation.......2003-11-05

I was amazed with this album of super fine music. I had known all my life that Vivaldi wrote tons of operas, but finding them, or the scores of them, was nearly impossible. In time I found a few, and was I ever amazed and disappointed. The published scores that were available were what was common practice of that time: there were the vocal lines and a figured bass and nothing more. There were no indications of orchestration. Even with that little bit, I was shocked with the intensity and complexity of this vocal writing. This man knew how to write for the voice. Until singers are willing to research his works, we, the public, will know him for a very orchestra suites and nothing more. The result will be a very stilted view of what the man had to offer.

Now getting to the performance by Bartoli. She really loves this music, as you can tell. Yes, she is mannered in some of the things she does, but that is her way of seeing the music. Her technical skills are amazing, and her interpretations (the "drama" behind the music) is just as intense. Some think Bartoli has a strong voice. Actually, her voice is very small, if you have heard her in performance (they weren't even sure she would be heard when she sang at the Met), and it has a very delicate quality, even when being "brash." Recordings give you the impression she has a much larger sound than she does, but that is because small voices record truer and better than large ones (the industry still can't capture large voices at all). However, even with a small voice, in performance she is breathtaking. She makes the music live. She has weird mannerisms one sees that to American trained singers are completely unacceptable (weird facial expressions, strange things done with he mouth and teeth, head bobbing, etc), but that has never distracted from her overall intensity. Yes, she is intense. You are literally taken away with her interpretation, and her skills. Interestingly, she is more famous in music circles for her cancelations (she cancels more performances in a year than she actually sings). I love this recording, not only because of the music, but because I have seen her sing some of this music live. She really LIVES what she sings, and that comes across in this recording.

A special note: in the little booklet that comes with the recording, Bartoli herself writes her impressions of this music. It is extremely insightful. Whether you like her or not, you have to admire the work she has done to make this music live and be as authentic in interpretation as she can. It is her love of this music that has caused her to record this album. I am thankful she did, for now, I can take those old scores I have and get a better understanding of what the composer was doing. Would that more singers would explore new/old works, and I think it would be far more interesting to have them write their impressions of the music they are singing than the standard academic essays we must read. Reading about how she came to this music, in her own words, gave a different dimension to listening. Now I was listening to see if she was successful in communicating what she felt this music had to offer. SHE WAS.

The best work of Cecilia Bartoli.......2003-08-15

This is simply the best work of Cecilia Bartoli. Her voice is a delicatessen and Il Giardino Armonico sounds very very well. I think that I don't need to say anymore. Simply: BUY IT!!

The art of singing, still with us.......2003-02-09

Even if you disdain Vivaldi in the Stravinsky way, do yourself
a favor, and get this record. Music hidden in some obscure
library for centuries, brought to pulsating life by a minor
voice, here used with passion and artistry reminding one of
vocal artists of the past. An enriching experience for anyone
enjoying the art of singing.

Great music, but disappointment.......2002-10-01

I thoroughly enjoy classical music but found this cd to be a disappointment by a heavy vocal performance. It was shocking to hear the heaviness and darkness in Cecilia's voice, whom I had remembered to be lighter and more playful. My only good thought about this cd is "At least it was a gift" because if I had actually purchased it I would be thoroughly disgusted.

Cecilia Bartoli - The Vivaldi Album / Il Giardino Armonico

Average customer rating:

Cecilia Bartoli brings Baroque music to life
A Revelation
The best work of Cecilia Bartoli
The art of singing, still with us
Great music, but disappointment

Cecilia Bartoli - The Vivaldi Album / Il Giardino Armonico
Antonio Vivaldi , Cecilia Bartoli , and Il Giardino Armonico
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

General | Classical | Styles | Music
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ASIN: B000058TAM
Release Date: 2001-02-13

Tracks:

Dorilla in Tempe: Dell'aura sussurrar
Griselda: Dopo un'orrida procella
Foa 28: Di due rai languir costante
L'Orlando finto pazzo: Qual favellar? - Andero volero gridero
Foa 28: Zeffiretti che sussurrate
La fida ninfa: Alma oppressa
La fida ninfa: Dite oime
Giustino: Sventurata navicella
Giustino: Sorte che m'invitasti - Ho nel petto un cor si forte
L'Olimpiade: Tra le follie - Siam navi all'onde algenti
Farnace: Gelido in ogni sommerga
Bajazet: Anch'il mar par che sommerga
Teuzzone: Di trombe guerriere

Amazon.com

Mezzo-soprano Cecilia Bartoli could easily rest on her laurels as one of today's most charismatic, characterful singers for her lively portrayals of Mozart and Rossini heroines. But it's been particularly exciting to observe her growth as an artist in exploring the exuberant world of Baroque opera, with its range of pyrotechnic demands--both vocal and emotional. Bartoli's show-stopping virtuosity in a Vivaldi aria from her Live in Italy recital gave a tantalizing sample of her finesse in that style. For The Vivaldi Album (originally released in 1999), Bartoli conducted extensive research into the composer's manuscripts (a documentary tracing her quest has been made).

Although he's best known for his concertos--in typically Baroque fashion, two of the arias here, in fact, recycle material from The Four Seasons--Antonio Vivaldi was a ferociously prolific composer of operas for the cutting-edge theaters of his time, and the arias gathered here demonstrate the word-painting magic of his music, from the sylvan setting of dueting flageolets in "Di due rai languire costante" to the storm-tossed passions of "Anch'il mar par che sommerga," where Bartoli spins out ripples of rapid-fire coloratura with a gravity-defying accuracy that will leave your head spinning. In addition to many such examples of vocal acrobatics, Bartoli brings exquisite nuance and limpid tone to the delicate echo effects of "Zeffiretti, che sussurrate," and there's no better test for the remarkable flexibility of her range--full and dusky at the bottom and thrilling at the top--than the huge intervallic leaps of "Dopo un'orrida procella." With her naturally large voice, Bartoli can at times tend to histrionic excess (in the recitative to the short aria from "L'Orlando finto pazzo," for example), but the expressive color of her phrasing is wonderfully matched throughout by the Giardino Armonico's lively panache. All power to Bartoli in her goal of reviving this neglected aspect of Vivaldi's output. The reissue includes additional photos and text, packaged together as a visually enticing booklet to accompany this splendid CD. --Thomas May

Customer Reviews:

Cecilia Bartoli brings Baroque music to life.......2005-08-24

A Revelation.......2003-11-05

The best work of Cecilia Bartoli.......2003-08-15

This is simply the best work of Cecilia Bartoli. Her voice is a delicatessen and Il Giardino Armonico sounds very very well. I think that I don't need to say anymore. Simply: BUY IT!!

The art of singing, still with us.......2003-02-09

Great music, but disappointment.......2002-10-01

Track Listings: