I like her so much in this role! Cecilia has these really interesting child-like facial expressions that feel so right for the role and especially for this piece.
One of the best versions. The cast is amazing..... too bad she didn't keep singing in the US.... the production is a bit strange but the singing is superb.
I ve already seen Bartoli singing this piece and I didn't like, but here she is so gorgeous, bravissima. the best singer alive, the golden voice of nowadays
Grazie per la tua risposta.Totalmente di accordo con la tua definizione del belcanto! In quanto alla Bartoli trovo che la sua frenesia ed il suo impegno a volere brillare sottolineino al contrario tutte queste difficoltà di cui parli mentre dovrebbero essere impercettibili. È precisamente per questa ragione che ho qualche riserva al suo riguardo.
It would’ve been interesting if Ms. Bartoli and Ms. Horne could’ve sung together in a Rossini production. They are both experts. Perhaps, a Tancredi or Semiramide?
She is not a contralto, because she has in repertoire also soprano arias and roles like Norma, Sonnambula or Countess Adele. She is a high mezzo. If she was a contralto, she would sing Tancredi, Giulio Cesare, Rinaldo etc.
As far as I know: This aria was written by Rossini for his wife to perform - as a show-off piece. Cecilia Bartoli is not a genius, but an accomplised musician - and a ton load of charm. It is typical of her staring into the camera - which otherwise is a no-no for a performer - but notice how she has focused side glances and wants eye contact with collegues and audience - she sings as much with her eyes. As an artist, you should se her in a later production of Don Giovanni as Donna Anna as she storms back and forth on the stage in the rage of a woman whose feelings have been trifled with. She is so furious, she cannot speak. I doubt that performance can be improved upon. But yes! She always make me smile in sympathy.
The role was written for *Geltrude Righetti- Giorgi*! (She was also the first Rosina) For *Isabella Colbran* he wrote Elisabetta, La donna del Lago, Desdemona or Semiramide!!!
This is not just a show piece for Rossini's wife, who was a great soprano in his time. It is the finale of "La Cenerentola" {i.e., Cinderella} which was one of his best comic operas. Bartoli captures the great happiness that the character has found in the finale and which she is sharing with everyone. For people who comment often on her "strange facial expressions" you must remember that she is never just singing for the camera [i.e., intense closeups] but for an audience in a large opera house or concert hall. Believe me, if you are sitting in row 24 of the orchestra or in the second balcony at Scala, the Met, the Lyric in Chicago or any other large house those bigger than life expressions are well appreciated by the live audience.
Axel Zeltsch I’m the biggest Bartoli admirer but that order really depends on what criteria you used to measure. For pure speed and excitement, Bartoli wins, hands down. For technical perfection, Baltsa had anyone beat by a mile.
Me da la sensación de que se empeña más en demostrar su técnica (que es extraordinaria) que en hacer una bella interpretación. Peeeeeeeeeeeero como no soy muy fan de Rossini, posiblemente me esté equivocando, así que pueden corregirme.
@Creutzfeldt Jakob Just because something is fast it doesn't follow it has to be also good, unless we're talking about the 100m sprint race. And just because you happen to find something amazing it doesn't follow it has to be good either - for all we know you might find a farting contest amazing too. How about less navel gazing and more education? You might start your education with basic logic: away from unreflective use of arguments to inquiry into argument patterns. An opera singer's rendition of an aria isn't good because you find it amazing. It's good only IF the singer respects the score and the particular style of the composer. I have yet to see machine-gun coloratura in a Rossini score.
@@creutzfeldtjakob7 , la Callas li cantava col tempo giusto. La Bartoli non sa cantare le agilita' lentamente perche' fa tutto con la gola e non potrebbe. E non paragoniamo la Callas con questa signora dal canto isterico e fastidioso e sopravvalutato.
la coloratura a colpi di glottide può piacere o meno, ma una sua tecnica la ha, discutibile ma è presente. Il legato difettoso, la voce chioccia, le disomogeneità timbriche specie negli affondi verso il basso mi danno dopo un po' un certo fastidio. Non so quanto si possa definire cantante lirica visto il suo costante uso del microfono.
secondo me è una specie di falsettista. Con questo tipo di tecnica non puoi cantare Rossini. Furbastra anche: nei passaggi più difficili rallenta fingendo di...interpretare. Ma che c'è da interpretare nella coloratura rossiniana?🤣🤣🤣 Vederla mentre canta è impressionante e imbarazzante: chi se ne intende capisce quel che c'è da capire
Great technical ability is no compensation for artifice veiling lack of emotional identification with a role. She is beginning to verge on the grotesque at times, not helped by the advancing years, of course. Give me Lezhneva any day!
