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.
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.
Autumn 2012 marks the release of Mission, a sensational new album from the world’s best-selling classical artist, Cecilia Bartoli, and a project with international politics, religious conflict, diplomatic secrecy, spying and sensational music at its heart.
For the later part of her career, Italian mezzo-soprano Cecilia Bartoli has apparently settled on a campaign of major conceptual releases covering all-but-unknown repertory, and St. Petersburg fits right in. It's a collection of arias from operas written in the second half of the 18th century for the Russian imperial court, which had imported the best Italian and German composers money could buy. The names of all but Mozart's contemporary Domenico Cimarosa are unknown today. Most of the arias are in Italian, but a couple are in Russian, and to untutored ears Bartoli brings her trademark passion to them. This is the kind of release where one can quibble with any number of details. Bartoli sounds thick in some places, strained in others. The material is a bit uneven, with especially the last two pieces creating a bit of a letdown, although much of it does indeed live up to major-forgotten-works billing.
Cecilia Bartoli recreates the 1828 triumph of the legendary Maria Malibran - original star and dedicatee of Halévy's "tragi-comedy", Clari. Tracing the love of a callow country-girl for a duplicitous Duke, this hugely entertaining and first-ever modern production of Clari proved the overwhelming hit of the Zurich Opera season. Zurich Opera's own period-instrument orchestra, La Scintilla, under Adam Fischer, contribute a thoroughly researched, stylistically and historically well-informed accompaniment, yet without neglecting the liveliness and spirit of Italian opera.
"La scala di seta" is an operatic farsa comica in one act by Gioachino Rossini to a libretto by Giuseppe Maria Foppa. It was first performed in Venice, Italy, at the Teatro San Moisè on 9 May 1812. The overture has been frequently recorded and continues to be featured in the modern concert repertoire.
From 1810 to 1813, the young Rossini composed four Italian farse, beginning with La cambiale di matrimonio (The Bill of Marriage), his first opera, and ending with Il Signor Bruschino. These types of short pieces were popular in Venice at the end of the 18th century and the beginning of the 19th century. The pieces were intimate, with a cast of five to seven singers, always including a pair of lovers, at least two comic parts, and one or two other minor roles. The style called for much visual comedy improvised by the players. As compared to many genres of opera, acting and comedic talent is more important relative to the required singing ability. Rossini’s farces also have a significant sentimental element.