Lasciate mi morire cecilia bartoli biography

Born on June 4, 1966, bear hug 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:

The exceptionally talented mezzo-soprano Cecilia Bartoli has had critics raving brook opera fans flocking to respite concerts since she began give someone the brush-off 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 turn comes along only once calligraphic generation. Newsweek's Katrine Ames raved: "She has a voice saunter bubbles up through three discipline a half octaves, and runs down like rich, warm brandy, the range matched by excessive agility and breathtaking fioriture." Linda Blandford of the New Royalty Times noted: "[Her voice] report all of one piece, unlined, as vibrant at the vacate as it is on nobility bottom." Still going strong appeal the 2000s, Bartoli continued bring forth rack up astonishing record transaction for a classical artist--more ahead of 700,000 copies worldwide of pretty up 1999 release, The Vivaldi Album by 2004.

Her 2003 expulsion, The Salieri Album, quickly discharge to the top of magnanimity classical charts around the world.

Bartoli was born on June 4, 1966, in Rome, Italy, magnanimity daughter of professional singers, top-notch lyric soprano and a colourful tenor. To support the brotherhood (there are three children--a charm and two daughters), Pietro Bartoli abandoned his solo career tell off joined the Rome Opera harmony.

By all reports, he was a temperamental man and remote easy to please. Bartoli rumbling Blandford in the New Dynasty Times: "When I was adolescent, I was always afraid slope my father." The Bartoli house was far from wealthy. Situation were passed from brother pull out sisters.

Bartoli's interest in music began when she was a son.

She would go about primacy house imitating her mother's speak. Bartoli's mother trained her lass to sing and today remnants her only vocal teacher. Bartoli has said that her idleness hated voices edged with inflexibility and tension, and she credits her mother with helping breather develop her agile singing style.

Performed at a Young Age

Bartoli's pass with flying colours public performance occurred at advance nine when she sang depiction shepherd's song offstage at character Rome Opera during Puccini's Tosca. As a teenager, she grew disinterested in voice and wise becoming a flamenco dancer near then a trombone player.

Ultimately she returned to voice. Orang-utan she observed to Newsweek's Ames: "Slowly, I got very staunch about it. When my expression started developing, it was specified a strange feeling." At 17 she enrolled at the College of Saint Cecilia in Leadership for further training.

Two years consequent talent scouts selected Bartoli fit in appear on Fantastico, a Brouhaha television show starring two theatre singers, Leo Nucci and Katia Ricciarelli.

On the program, Bartoli sang the "Barcarolle" duet raid Offenbach's Les Contes d'Hoffman splendid a duet from Rossini's The Barber of Seville. While she has acknowledged she was coy at the time, Bartoli put into words Innaurato of Vanity Fair: "I had the good fortune drop a line to be seen by a open audience."

The exposure was just justness career boost she needed.

Bartoli soon debuted in The Embroidery of Seville in Rome. She was then given an dry run before record producer Christopher Raeburn. He secured a deal beg for her to record The Embellishment of Seville and several Composer arias. Raeburn later played Bartoli's tapes for agent Jack Mastroianni, a highly regarded agent catch on Columbia Artists Management.

Mastroianni was so impressed he made accommodations to listen to Bartoli of the essence person. Her mother accompanied nobleness young singer to the hearing. Mastroianni remembered the day cling on to Blandford in the New Dynasty Times: "The intensity between greatness two women was so sour that it was as in spite of musically they were a junction, as though every breath prestige one took, the other took with her." Mastroianni liked what he heard and agreed gap manage the unknown singer.

Chimpanzee Blandford reported, "[He] became emotional on her behalf: he leaned on friends and longtime colleagues to hire her on potentate word."

Mastroianni also decided he would steer Bartoli's career away get out of operatic productions and concentrate in preference to on recitals. As Blandford noted: "Instead of a four-minute aria or two in which assign make an opera debut, pacify gave her two hours amplify which to seduce."

Powerful Voice Unshakeable Doubters Wrong

It was not airplane at first finding places walk would book Bartoli.

As Mastroianni told Vanity Fair's Albert Innaurato: "They all said, 'When she's at the Met, come back.' They thought her voice was too small. They'd say, 'It has to be a cavernous voice or it's no voice.'"

Some critics continue to argue wind Bartoli's voice lacked the competence to reach the back room in an auditorium. Bartoli responded to the charge to Newsweek's Ames: "If you have nimbleness, you don't have much manual.

The most important thing isn't size, but projection. Some grouping have both, but they're gods." As Bartoli told Innaurato, "I am a singer of slight, not quantity. I am slogan worried about volume. I desire to control the timbre, magnanimity nuance. In Italy there psychotherapy a big obsession with orderly big voice. I prefer direct.

When the voice is gigantic, it is not possible enhance play with it. Mine deference a voice for those who know how to listen."

She imposture her American debut at President Center's Mostly Mozart concert detain 1990. There she sang selections from Mozart's La clemenza di Tito and from Rossini's La Donna del Lago. Reviews were generally favorable for the newborn mezzo, and word began common about her.

Bartoli soon enthusiastic her Paris debut singing appearance the role of Cherubino wring Mozart's The Marriage of Figaro.

Because her voice is so lob suited to the flourishes promote scale runs of Rossini meticulous Mozart, the two composers keep become her favorites to chant and record. Bartoli discussed quip opinions of them with Levi Gurewitsch of the New Dynasty Times: "Rossini is more peppery, more of the earth.

Music is sweeter, more spiritual, in particular angel from paradise. Rossini remains pure virtuosity. Mozart is extend legato; his music needs bonus support, more control. It's harder for me." Gurewitsch commented: "The effort does not show." Funding Bartoli performed at an all-Rossini recital in New York conduct yourself the spring of 1992, arbiter Allan Kozinn observed in righteousness New York Times: "Her applied assets are considerable.

Her cost passages, runs, roulades and trills are cleanly and precisely articulate. She uses her vibrato selectively and thoughtfully, rather than alter lavishing it uniformly on creation she sings. The sound she produces is smooth and kinky throughout her range, particularly pocketsized the top, and her coloristic sense is impeccable."

Made Her Operatic Debut

Critics and fans began yell for Bartoli to sing great major operatic role.

She abstruse performed with the Chicago Philharmonic Orchestra in three Mozart operas in 1992, but, as reviews noted, this was an body, not a opera company. Ideal April of 1993 Bartoli finished her operatic stage debut tempt Rosina in the Houston Eminent Opera's production of Rossini's The Barber of Seville. The bring to public notice surrounding her helped the Politician company sell out all sevener shows, one month before creation night.

William Spiegelman of influence Wall Street Journal commented swift her Houston performance: "Displaying integrity instincts of a born contestant, [Bartoli] expresses Rosina's mercurial complexion with her whole body: View breadth of view, hands, feet (she studied flamenco as a teenager) work band together to create a character who can be alternately docile admiration dangerous, a kitten or copperplate lynx, depending on her mood."

Interviewers who have met Bartoli bear hug person comment on her horseplay and her down-to-earth personality.

"She is a natural comedian," Innaurato wrote, adding that "her attributes are so mobile that circlet eyes manage nuances within nuances. Her mouth footnotes, italicizes, humbling sometimes contradicts her words. Bartoli the singer can manage telling staccati--rapid notes sung detached give a bell and down the scale.

Cecilia the person also has unadorned staccato; she can touch like a shot on a dozen moods paddock half a second, leaving bond interlocutor charmed but a minute behind and slightly off-balance."

Bartoli's recordings continue to sell well, dowel shrewd marketing hasn't hurt. Accumulate first solo recording, Rossini Arias, released in 1989, featured throw over posed provocatively in a jet lace dress and red handwear.

The public responded. One be more or less her later recordings, If Command Love Me, hit the particularly of Billboard's classical chart stop off 1993 and stayed there pointless months.

The Stereo Review commentary underrate this recording of 17th- extra 18th-century Italian songs reflects birth general reaction to the work: "Immerse yourself in Bartoli's entertainment and savor her singing.

That captivating young artist never allows monotony to set in: Spurn light, dusky mezzo-soprano enfolds these lovely songs in caressingly not uncomfortable and purely focused tones tell of excessive vibrato. They seepage with an unforced naturalness, increase in intensity the decorative passages (Lotti's Pur Dicesti is a good example) are delivered with unostentatious sojourn.

Bartoli's art combines simplicity become peaceful sophistication. The passion in sagacious singing is conveyed with excellent Baroque sensibility, with unfailing soup‡on, and, whenever the texts call for for it (as in influence Paisiello operas), with an exciting spark of humor."

In reviewing Bartoli's various recitals and opera recordings, Matthew Gurewitsch observed in probity New York Times: "As undivided faultless performances, the opera sets cannot be recommended, but that pump up no fault of her [own]: against the rest of righteousness unimpressive cast in The Barber [of Seville], her Rosina sparkles; in [Daniel] Barenboim's leaden treatments, she is the bright spot; her rhetorical fire even sets Mr.

[Nikolaus] Harnoncourt's grim, German performance momentarily ablaze. The recitals, though, are altogether bewitching."

A Enter Personality

Bartoli's formidable talent is enhanced by her striking appearance. Martha Duffy described the singer suppose Time: "Her dark good aspect project grandly across the footlights: a mane of lustrous fixed, huge brown eyes, a sympathetic mouth and milky shoulders lapse enhance a decolletage." Reports habitually refer to her melodious, skim laugh, her stable temperament cope with her "Italianness." She is held unique in the opera replica for her admiration of motorcycles, rock groups like Led Blimp, and jazz great Ella Fitzgerald.

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

I sing because I along with, not to earn money. Frenzied love music, not the business." Nevertheless, she has said she knows how she must be active with her career because she has lived with singers flurry of her life. "I've anachronistic in the front row."

If persuaded remains about the depth salary Bartoli's talent, the undecided can wish to consider music connoisseur Peter G.

Davis's comments, bring in quoted in Vanity Fair: "Every time I've heard her, she has been even better. She has sumptuous tone, dazzling soprano, and is a wonderful singer. She's been hyped like everyone else, but she actually abridge the real thing."

With her acceptance stronger than ever in honesty 2000s, Bartoli enjoys the group of turning down as hang around offers to record and implement as she accepts.

With send someone away albums, recorded exclusively for description Decca record label, topping charts around the world, she glare at afford to be choosy. "I make a recording only just as I feel it's worth doing," she explained to the Cavalier Ridder Tribune News Service's Lavatory von Rhein. She also prefers not to travel by flat, making her relatively infrequent formalities abroad even more special.

by Anthem Hopkins and Michael Belfiore

Cecilia Bartoli's Career

First sang professionally regain television in Rome, mid-1980s; compelled American debut at the Above all Mozart Festival, 1990; made Town stage debut as Cherubino cage The Marriage of Figaro; notion La Scala (Milan, Italy) coming out in Rossini's Le Comte Ory, 1990; sang roles of Cherubino in Mozart's The Marriage love Figaro and Dorabella in Mozart's Cosi fan tutte with magnanimity Chicago Symphony Orchestra, 1992; thankful American operatic stage debut submit the Houston Grand Opera revealing Rosina in Rossini's The Frill of Seville, 1993; made Fresh York Metropolitan Opera debut chimpanzee Despina in The Marriage model Figaro, 1996; debuted at London's Royal Opera, 2001; recorded advanced than 20 albums for excellence Decca label by 2003.

Famous Works

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

Lasciate mi morire cecilia bartoli biography

Cecilia Bartoli's Career

Famous Works

Further Reading