This was to be the end of the line for Italian word-setting by Viennese composers: once the confident sentiments that belonged to the poet Metastasio's opera seria felt the chill and threatening wind of Enlightenment and Revolution, their time was up. Even we, for the most part, prefer to remember the German-speaking Beethoven, Schubert and Haydn. So it is good to be reminded of their responses to the Italian muse (usually as part of their craft-learning student work) in this particularly well-cast recital. Central Europe, in the person of Andras Schiff meets Italy, in Cecilia Bartoli, to delightful, often revelatory effect.
In collaboration with Giovanni Antonini, Riccardo Minasi and Maurizio Biondi, Cecilia Bartoli restores the sound and spirit of Norma in a landmark Decca recording based on the opera’s original sources. Cecilia Bartoli leads a fabulous cast in Decca’s groundbreaking new recording, which presents Vincenzo Bellini’s Norma in a form that is complete with the exquisite mix of vocal and instrumental colours that Bellini intended for his ‘tragic opera’.
The Italian mezzo-soprano Cecilia Bartoli is one of the most charming and talented singers to appear on the scene in recent years, and this collection of Italian songs by three great opera composers–Bellini, Donizetti, and Rossini–is a most deserving bestseller. There are many small pleasures in the selections, which reflect the bel canto predilections of their authors, and Bartoli renders them artfully. Some will be familiar even to casual listeners (Rossini's La Danza, the famous tarantella); others will be new to most, but equally deserving of a hearing. The sensitive and skillful accompaniment is by conductor-pianist James Levine.
In the early 1990s Daniel Barenboim recorded the three Da Ponte operas with the Berlin Philharmonic. The BPO had played "Figaro" and "Don Giovanni" many times, but this was the first time that the group had ever tackled "Cosi fan tutte." Perhaps that is why they sound so fresh and energized under the thoughtful baton of Barenboim. Mozart's operas are usually performed with a small chamber or opera house orchestra, but this time the score of "Cosi" (which has so many beautiful, subtle touches, and is almost a celebration of beauty itself) is given the full treatment of perhaps the greatest orchestra in the world. While the resulting sound is somewhat "bigger" and more "lush" than is usual, Barenboim does manage to keep things appropriately light and "classical," just as he has so successfully done in the piano concertos which he is recording with the BPO.
Gioacchino Rossini wrote two kinds of comic opera. First there was the manic, almost farcial "opera buffa" (eg. THE BARBER OF SEVILLE). Then there was a kind of serio-comedy akin to the "dramma giocoso" of Mozart. IL TURCO IN ITALIA (1816) definitely falls in the latter category (as does LA CENERENTOLA). This little-known opera is a real gem. It is about a Muslim prince (Selim, sung by Michele Pertusi in fine voice) from Turkey and the comedy and conflict that ensue when he visits Italy. A clash of cultures ensues as the polygamous Selim tries to steal Don Geronio's young wife, Fiorilla (mezzo-soprano Cecilia Bartoli, singing a role written for soprano)…
Rossini composed comic operas of the bel canto repertoire, which were very popular in the first half of the 19th century. Rossini's music was sparkling, inventive, Mozartian, and the vocal lines of his operas were showcases for tenors and sopranos of the day. Rossini popularized comedy in opera. It was his Barber Of Seville that began a tradition that is still strong to this very day. In the first half of the 19th century, tenor Manuel Garcia and his daughters, both of them acclaimed mezzo sopranos, delivered masterful performances of Rossini's operas…
By Rachel Garret
Rossini’s unusual scoring of the drama calls for three tenor supporting roles – here sung to universal acclaim by long-standing Bartoli collaborators John Osborn and Javier Camarena and newcomer Edgardo Rocha. Bartoli’s dramatic command and vocal presence dominate the stage and reveal her artistry to be entering a rich new stage of development.