Cecilia Bartoli

See also: Bartoli

Cecilia Bartoli (born the June 4th 1966 with Rome) is a Mezzo-soprano Italy.

It is very known for its roles in operas of Mozart and Rossini, but less known for its interpretations of songs baroques. Contrary to the majority of the singers of opera, Bartoli became famous with very an young age, before its twenty years.

Cecilia Bartoli was formed by his/her parents Silvana Bazzoni and Angelo Bartoli themselves professional singers, and followed courses to the Conservatoire Holy-Cecile from where it left graduate.

It appeared for the first time in public, at the nine years age, by interpreting a shepherd in Tosca of Puccini. In 1986, at nineteen years, it was revealed with the Italian public by “Fantastico”, an Italian television program; and right after his service, the leader Riccardo Muti invited it to pass a hearing to La Scala.

It was made known in France at the time of a concert organized in 1985 by the Opéra of Paris, with the memory of Maria Callas, diffused on Antenne 2, the September 16th 1987 in an emission animated by Eve Ruggieri.

In 1988, in Hamburg, it interpreted its favorite role of Rosina in He barbiere di Siviglia of Rossini. She collaborated then with Herbert von Karajan and Daniel Barenboïm which had noticed it with this television program dedicated to Maria Callas. Herbert von Karajan invited it a little later to sing the Messe in so of Bach to the Festival of Easter of Salzburg of 1990 (however its death prevented the realization of it.) With Daniel Barenboim, she worked on the cycle da Ponte of Mozart. Under the direction of Nikolaus Harnoncourt, she interpreted in 1988 the role of Chérubin of Mozart, in Zurich.

Bartoli was focused then on roles of Mozart and developed his career internationally.

In 1996, it made its beginning with the Metropolitan Opera as Despina in Così fan tutte and returned the following year to sing in Cenerentola . Bartoli compared has a “small voice” to the largest room of opera of Metropolitan of the world; and of the rumors let believe that one had hidden a microphone to him which amplified its voice what was immediately contradicted by the direction of Metropolitan. In any event, Bartoli interpreted a little less than ten roles on scene and was interested in the song baroque and more recent works of vocal classical music, type-setters like Vivaldi, Haydn and Salieri, to which its voice lends itself to wonder.

Bartoli belongs to the traditional singers of these last years which sell more, and is liked much by the public for his personality, its promptness and its energy; but some reproach him surjouer its roles. Criticisms also find that it has a manner of singing haletante too much.

One of its many CD, devoted to arias of Vivaldi, is regarded as one of the strongest sales of classical music of these last years.

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