The Vivaldi Album
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|1. Dell'aura al sussurrar|
|2. Dopo un'orrida procella|
|3. Di due rai languire costante|
|4. Qual favellar? ...Andero, volero, gridero|
|5. Zeffiretti, che sussurrate|
|6. Alma oppressa|
|7. Dite, oime|
|8. Sventurata navicella|
|9. Sorte, che m'invitasti...Ho nel petto un cor si forte|
|10. Tra le follie...Siam navi all'onde algenti|
|11. Gelido in ogni vena|
|12. Anch'il mar par che sommerga|
|13. Di trombe guerriere|
Includes Dell'aura al sussurrar; Dopo un'orrida procella; Di due rai languir costante; Alma oppressa; Dite, oim+¨; Sventurata navicella; Gelido in ogni vena; Anch'il mar par che sommerga, and more.
Mezzo Cecilia Bartoli could easily rest on her laurels as one of today's most charismatic, character 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 tantalising 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 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 theatres of his time and the arias gathered here demonstrate the word-painting magic of his music, from the sylvan setting of duetting 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 colour of her phrasing is wonderfully matched throughout by Il Giardino Armonico's lively panache. All power to Bartoli in her goal of reviving this neglected aspect of Vivaldi's output. --Thomas May
Top Customer Reviews
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.Read more ›
The first two arias on this CD are the standouts. The first is Dell aura al sussurrar which used a tune from spring one of the four seasons. The second is an aria written for a castrato Dopo un orrida procella which has an accompaniment of two french horns and has a driving pace and is a great test of any voice.
Over all it is an enjoyable CD and it recovers a style of music which although not lost has not been part of the mainstream. Even my mother and sister like it.
Personally, I enjoy this CD for the fascinating vocal technique. I've never heard any recording where a singer exhibited such technical skill. Bartoli goes from rapid-fire melisma to fully- controlled trilling and back with such ease that I'm still completely amazed after dozens of hearings. **IF** you are a Bartoli fan, and IF you like dazzling vocal gymnastics, don't pass this one up.
The comparison of Bartoli to Callas is intriguing, and I welcome more details from that reviewer. To me, Callas' strengths were verismatic: dramatic strength, coloratura, and emotional verbal depiction. Bartoli's are more technical, and displayed in this CD with incomparable skill: vocal finesse, melismatic agility, and near flawless accuracy of pitch. It's a difficult comparison, but an interesting one, and I'd like to hear more comments.
I'd also like more explanation from the reviewer who feels that Bartoli's vibrato is overpowering. I detect only a light, calm vibrato, within (to my ears) accepted Baroque technique; and that only occasionally, since her trills are so omnipresent. As dominating and controlled as her trills are, they do occasionally sound like vibrato, especially her Baroque-style (staccato) ones. If such trills are what that reviewer is referring to, I agree -- that aspect is quite excessive. But, accepted Baroque style allows an abundance of various types of ornamentation, and when you're the best at a particular aspect of any skill, you set the style. Would Dr. Naismith roll over in his grave watching Michael Jordan drive the lane? Perhaps. Would any fan of Jordan's care, however educated she/he may be in basketball history or technique?Read more ›
Most recent customer reviews
I've just discovered the greatest Giardino Armonico bargain of all time!
It's a special import from France: a 4-disc set of their complete Teldec recordings of the Vivaldi... Read more
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. Read morePublished on Aug. 15 2003 by Annio
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... Read more
I thoroughly enjoy classical music but found this cd to be a disappointment by a heavy vocal performance. Read morePublished on Sept. 30 2002
I rate this five stars because Il Giradino Armenico lift it up to something extra. It is not that I dont like Bartoli but sometimes I think she sing this with too much vibrato for... Read morePublished on Aug. 2 2002
I have almost every Cecilia Bartoli album, and I have really enjoyed them many times over the past 15 years. Read morePublished on Feb. 22 2002 by Eric McCalla
This is yet another success for Cecilia Bartoli. A lot of this music is recognizable to those familiar with the Four Seasons, but how well it sounds in this version! Read morePublished on July 12 2001 by jhorro
...and what a way to discover her! I played this CD every day for the past four months and its getting better and better! Alma Oppressa is my favourite right now! Must be heard. Read morePublished on March 27 2001 by Hans Eriksson