01. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492 Act I: Cinque...dieci...venti...trenta by Wolfgang Amadeus Mozart
02. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492 Act I: Cosa stai misurando, caro il mio Figaretto? by Wolfgang Amadeus Mozart
03. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492 Act I: Se a caso madama la notte ti chiama by Wolfgang Amadeus Mozart
04. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492 Act I: O bene, ascolta, e taci
by Wolfgang Amadeus Mozart
05. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492 Act I: Se vuol signor Contino
by Wolfgang Amadeus Mozart
06. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492 Act II: un moto di gioia
by Wolfgang Amadeus Mozart
07. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492 Act III: Signor...la vostra sposa ha i soliti vapori by Wolfgang Amadeus Mozart
08. Le nozze di Figaro (The Marriage of Figaro), opera, K. 492 Act III: Crudel! perché finora farmi languir cosi? by Wolfgang Amadeus Mozart
09. Così fan tutte, opera, K. 588 Act II: Passeggiamo anche noi by Wolfgang Amadeus Mozart
10. Così fan tutte, opera, K. 588 Act II: il core vi dono, bell'idol mio 
by Wolfgang Amadeus Mozart
11. Don Giovanni, opera, K. 527 Act I: Alfin siam liberati, Zerlinetta gentil, da quel scioccone
by Wolfgang Amadeus Mozart
12. Don Giovanni, opera, K. 527 Act I: Là ci darem la mano, là mi dirai di sì
by Wolfgang Amadeus Mozart
13. Die Zauberflöte (The Magic Flute), opera, K. 620 Act II: Pa-Pa-Pa-Pa-Pa-Pa-Papagena
by Wolfgang Amadeus Mozart
14. Il barbière di Siviglia (The Barber of Seville), opera Act I: Ebben, signor Figaro?
by Gioachino Rossini
15. Il barbière di Siviglia (The Barber of Seville), opera Act I: Dunque io son...tu non m'inganni? by Gioachino Rossini
16. L'italiana in Algeri (The Italian Girl in Algiers), opera Act I: Ai capricci della sorte io so far l'indiffernete by Gioachino Rossini
17. L'elisir d'amore, opera Act II: Come sen va contento!
Composed by Gaetano Donizetti
18. L'elisir d'amore, opera Act II: Quanto amore! Ed io spietata!
by Gaetano Donizetti

Cecilia Bartoli, John Fisher, Bryn Terfel
Roma Orchestra dell'Accademia Nazionale di Santa Cecylia
Myung-Whun Chung – conductor

Superlatives don't do justice to this priceless and incomparable collection of duets by opera's two most charismatic singers, whose interpretations are brimming with nuance only the truly gifted could capture. However pleasing Cecilia Bartoli's renditions of Cherubino and others in Mozart Arias, the depth of Susanna's emotional life that Bartoli conveys has yet to be even imagined by other sopranos, as she rips through opera's boundaries, creating her very own Fach and threatening the jobs of soubrettes the world over. Once she and Bryn Terfel draw you into their world of stellar, multidimensional creations, there's no escape from pleasure; in their talented hands, recitative becomes as interesting as any aria. The duo's inherent charm overcomes Bartoli's difficulties with German and the dramatic Terfel's with coloratura; however, their sincere attempts to meet these challenges are most endearing. ---Barbara Eisner Bayer, Editorial Reviews

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1. Aragonese, for voice & piano (Péchés de vieillesse, book 11), QR iv/44  (3:30)
2. Vaga luna, che inargenti, song for voice & piano  (4:02)
3. Il barcajuolo ("Voga, voga, il vento tace"), for voice & piano  (2:47)
4. Ah, rammenta, o bella Irene, cavatina for voice & piano  (5:38)
5. L' abbandono (L'ultima veglia), for mezzo-soprano & piano  (4:16)
6. La passeggiata ("Or che di fiori adorno"), for voice & piano  (4:02)
7. Malinconia, ninfa gentile for voice & piano (6 ariette da camera)  (1:16)
8. Amore e morte ("Odi d'un uom che muore"), arietta for voice & piano  (3:28)
9. L' invito ("Vieni o Ruggiero"), song (bolero) for voice & piano (Soirées Musicales)  (3:31)
10. La conocchia ("Quann'a lo bello mio voho parlare"), song for voice & piano  (2:19)
11. Il fervido desiderio, for voice & piano  (2:35)
12. Torna vezzosa Fillide, for soprano & piano  (7:53)
13. Vanne, o rosa fortunata, for voice & piano (6 ariette da camera)  (2:06)
14. Dolente immagine di figlia mia, for voice & piano  (3:15)
15. La farfalletta, song for voice & piano  (2:01)
16. A ma belle mère (Requiem eternam), for piano in A major (Péchés de vieillesse, book 11), QR xi/58  (2:58)
17. Per pietà, bell' idol mio, for voice & piano (6 ariette da camera)  (2:03)
18. Amor marinaro ("Me voglio fà na casa"), canzonetta napoletana for voice & piano (or orchestra)  (2:12)
19. L' esule ("Qui sempre ride in cielo"), for voice & piano (Péchés de vieillesse, book 3), QR iv/25  (4:13)
20. La danza. Tarantella Napolitana ("Già la luna è in mezzo al mare"), for voice & piano (Soirées music  (3:08)

Cecila Bartoli – mezzo-soprano
James Levine - piano

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. ---Sarah Bryan Miller, Editorial Reviews

Rather than a collection of standard favorites, this recital contains rarely recorded songs by Bellini, Donizetti and Rossini.

This disc received the 1998 Grammy award for "Best Classical Vocal Performance.

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1. Bizet: Chant d'amour
2. Bizet: Oeuvre ton coeur
3. Bizet: Adieux de l'hôtesse arabe
4. Bizet: Tarantelle
5. Bizet: La coccinelle
6. Delibes: Les Filles de Cadiz "Chanson Espagnole"
7. Viardot-Garcia: Hai luli
8. Viardot-Garcia: Havanaise
9. Viardot-Garcia: Les filles de Cadix
10. Berlioz: La mort d'Orphée
11. Berlioz: Zaïde, Op. 19 no 1
12. Ravel: Chants populaires: no 2, Chanson française
13. Ravel: Chants populaires: no 1, Chanson espagnole
14. Ravel: Chants populaires: no 3, Chanson italienne
15. Ravel: Chants populaires: no 4, Chanson hébraïque
16. Ravel: Vocalise en forme de Habañera
17. Ravel: Mélodies hébraïques (2): no 1, Kaddisch
18. Ravel: Mélodies hébraïques (2): no 2, L'énigme éternelle
19. Ravel: Tripatos

Cecilia Bartoli – mezzo-soprano
Myun-Whun Chung – piano

Cecilia Bartoli goes from strength to strength. Taking on the French repertory in this delightful disc, she also gives us some great rarities. The opening Bizet group includes two of his best-known songs, Ouvre ton coeur and Adieux de Photesse arabe. In the first, one perhaps might ask for more of a smile in the voice. Predictably, in the pessimistic Hugo poem about the Arab girl bidding farewell to the handsome traveller, Bartoli relishes the muezzin-like vocalise on "Helas, adieu, souviens-toi". This is one of the best performances of this mini-drama since Conchita Supervia's orchestral-accompanied version. In this, and the succeeding Tarantelle, "tra-la-la"s and froth, one is prompted to wonder if there will one day be a Bartoli Carmen.

The big surprise of the Bizet group, again a setting of Hugo, is a song totally unknown to me, La Coccinelle ("The ladybird"). A fable of a gentleman trying to kiss the insect, it is a little salon gem, with a fast waltz motif. Bartoli uses a croaky little voice to act out the Ladybird. This song alone is worth the price of the CD.

Delibes's Les lilies de Cadiz, all trills and sunshine, is contrasted with an equally demanding setting of the same poem by Pauline Viardot. Although there is a whole CD devoted to Viardot's songs (by Karin Ott on CPO, 12/90) which I haven't heard, I rather think that for most other people these three melodies will be their introduction to Viardot's songs. Hai lull! with words by Xavier de Maistre is a sad second-cousin to the Willow Song from Rossini's Otello (an opera central to the repertory of Viardot's sister, Maria Malibran). Havanaise is a real curiosity: the first and last stanzas, sung in Spanish, frame a middle section in French which breaks into a Rossinian flight of coloratura before returning to the swaying movements of the dance. Evenings chez Viardot must have been enlivened considerably by such songs.

One can imagine that Viardot might easily have sung both Berlioz songs. The narration of Ophelia's death, words by Ernest Legouvé, vaguely based on Shakespeare, ends with a wordless melody which Bartoli sings in a hushed, beautiful tone. In Zaide she plays the castanets with skill; if this song is less interesting than the evocations of Spain by Bizet, Delibes and Viardot, that's Berlioz's fault, not Bartoli's.

In the concluding Ravel group, an interesting contrast can be made between Viardot's Havanaise of the 1840s and Ravel's Habanera of 1907.... This is one of the most satisfying recitals by one of the great singers of our time. First-rate recording and sensitive accompaniment throughout. --- Gramophone [12/1996]

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01. Serafini al nostro canto, cantata for 3 voices & instruments Aria della Pace. All'arme sì accesi guerrieri
by Alessandro Scarlatti

02. Il giardino di rose: La SS Vergine del Rosario, oratorio for soloists & orchestra Aria della Speranza. 
Mentre io godo in dolce oblio
by Alessandro Scarlatti

03. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a Aria della Bellezza. Un pensiero nemico di pace
by George Frideric Handel

04. Il Trionfo della Innocenza, oratorio Aria di Santa Eugenia. Vanne pentita a piangere
by Antonio Caldara

05. La castità al cimento, oratorio (Il Trionfo della Castità) Aria di Flavia. Sparga il senso lascivo veleno
by Antonio Caldara

06. Il Sedecia, re di Gerusalemme, oratorio for soloists, chorus, instruments & continuo Aria di Ismaele. 
Caldo sangue
by Alessandro Scarlatti

07. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a Aria del Piacere. Come nembo che fugge col vento
by George Frideric Handel

08. Il giardino di rose: La SS Vergine del Rosario, oratorio for soloists & orchestra Recitativo ed aria della Carità. 
Ecco negl'orti tuoi...Che dolce simpatia
by Alessandro Scarlatti

09. San Filippo Neri, oratorio for soloists, trumpet, strings, lute & continuo Recitativo ed aria della Carità. 
Qui resta...L'alta Roma
by Alessandro Scarlatti

10. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a Aria del Piacere. Lascia la spina, cogli la rosa
by George Frideric Handel

11. Il Sedecia, re di Gerusalemme, oratorio for soloists, chorus, instruments & continuo Recitativo ed aria di Ismaele. 
Ahi! qual cordoglio...Doppio affetto
by Alessandro Scarlatti

12. Oratorio per Santa Francesca Romana Aria di Santa Francesca. Sì piangete pupille dolenti
by Antonio Caldara

13. Il Martirio di Santa Caterina, oratorio Recitativo ed aria dell'Impertrice Faustina. 
Ahi quanto cieca...Come foco alla sua sfera
by Antonio Caldara

14. La Resurrezione, oratorio, HWV 47 Aria dell'Angelo. Disserratevi, o porte d'Averno
by George Frideric Handel

15. La Resurrezione, oratorio, HWV 47 Recitativo ed aria di Santa Maria Maddalena. Notte funesta...Ferma l'ali
by George Frideric Handel

Performer: 
Cecilia Bartoli – Mezzo-Soprano
Yasunori Imamura - Baroque Guitar, Theorbo
Sebastian D'Herin - Harpsichord, Organ
Yann Miriel - oboe
Jory Vinikour - Harpsichord, Organ
Eric Bellocq - Baroque Guitar, Theorbo 
Nils Wieboldt - Cello 
Jerome Hantai - Viola da Gamba 
Sebastien Marq - flute
Les Musiciens du Louvre
Marc Minkowski – conductor

Cecilia Bartoli maintains a near-perfect mezzo-soprano instrument, which she patently refuses to expose to material that might damage it; never will we hear Bartoli in voice-destroying roles such as Carmen nor in heavyweight mezzo parts such as those encountered in Wagner's Ring cycle. Even though she is a "mainstream" classical artist, the most "modern" composer she has recorded is Pauline Viardot, and even the Decca releases that established her as a star stick to composers such as Mozart, Beethoven, and Rossini. Bartoli eschews powerful vocal production in favor of greater flexibility, an ideal match for Baroque and Classical literature. Although one would not have pegged Bartoli as an "early music specialist" based on her earlier recordings, clearly she has found a place as an expert interpreter of such music. In Opera Proibita, where she is accompanied by the redoubtable Marc Minkowski and Les Musiciens du Louvre, it is hard to imagine anyone doing better in this material, over half of it never before recorded.

Opera Proibita restricts itself to a brief period in the early eighteenth century when opera was temporarily banned, owing to its alleged fostering of lewd and lascivious behavior in Italian society. During this time, composers adapted by writing highly operatic passages for the still legal form of oratorio, or developing formats such as the "Introduzione," a highly florid kind of introduction to the Latin mass that was eventually likewise struck down by the church. Although these recitatives and arias from oratorios are taken from composers ranging from George Frideric Handel and Alessandro Scarlatti to Antonio Caldara and are presented apart from the works from which they belong, there is a certain unanimity of style among them. Opera Proibita is sequenced for emotional impact rather than in a historical context, which makes for good listening even if one isn't able to keep straight who wrote what -- in this case, it almost doesn't make a difference. Bartoli is clearly the star of the show, imbuing Scarlatti's recitative and aria combo Ahi! Qual cordoglio...Doppio affetto with a blend of piety, drama, and pathos. Her sense of pitch, even in rapid fire passages of stuttering sixteenth notes, is unfailingly true; just listen to how the voice interacts with the oboes in Handel's Disserratavi, o porte d'Averno. Bartoli almost seems more in tune than the oboes do.

Opera Proibita contains a fair amount of the fireworks expected by fans familiar with her Vivaldi disc with Il Giardino Armonico; however, far more time is spent in reflective, pious, and calm music that is very easy on the ears. As always, Bartoli sounds fabulous here, and Opera Proibita will prove immensely satisfying to any listener who has an appreciation for the capabilities of the human voice as an instrument. --- Uncle Dave Lewis, Rovi

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1. La Secchia rapita / Act 2 - Son qual lacera tartana 3:08
2. La Scuola dei gelosi / Act 2 - Or ei con Ernestina...Ah sia già 8:25
3. La Fiera di Venezia / Act 3 - Vi sono sposa e amante 6:16
4. Palmira, Regina di Persia / Act 2 - Voi lusingate invano lo smarito cor mio...Misera abbandonata 2:55
5. La Cifra / Act 2 - E voi da buon marito...Non vò già' che vi suonino 3:43
6. La Cifra / Act 2 - Alfin son sola...Sola e mesta 8:22
7. Il Ricco d'un giorno / Act 2 - Dopo pranzo addormentata 3:15
8. La Secchia rapita / Act 2 - No, non vacillerà...Sulle mie tempie 7:45
9. Palmira, Regina di Persia / Act 1 - Lungi da me sen vada quella veste fatal...Dunque anche il cielo...Contro un'alma sventurata 4:04
10. La Finta scema / Act 2 - Se lo dovessi vendere 1:47
11. Il Ricco d'un giorno / Act 2 - Eccomi più che mai...Amor pietoso Amore 5:42
12. La Grotta di Trofonio / Act 2 - La ra la 1:35
13. Armida / Act 2 - E non degg'io seguirla!...Forse chi sà...Vieni a me sull'ali d'oro 9:59

Cecilia Bartoli – mezzo-soprano
Rachel Brown – flute
Andrea Perugi – organ
Anthony Robson – oboe
Orchestra of the Age of Enlightenment
Alan Fischer – Conductor

Antonio Salieri is, unfortunately, best known as Mozart's great Viennese rival. Some of his work has appeared on recordings, and he was clearly an interesting composer of well-crafted, entertaining music. But now that a singer with the stature and prodigious gifts of Cecilia Bartoli has undertaken an entire CD of his opera arias, he may just become a quasi-household name. Here he proves himself a composer who wrote for virtuosos; Bartoli is nothing if not a vituoso. And, indeed, this CD opens with an impressive bang: An aria from La secchia rapita features a wild vocal line complete with wild coloratura, huge leaps, a range from low G to high D flat (Bartoli flirts more and more with the soprano range while using her chest register even more forcefully!), and vast dynamic changes accompanied by a full orchestra augmented with grand, martial trumpets. Other arias--one from Palmira, Regina di Persia, for example--are more introspective and are spun out with a graceful, seamless legato and seemingly endless pianissimo. Everything one loves about Bartoli is here: the intensity, absolute fluidity in execution, breath control, glorious trill, the ability to whisper or holler, and an identification with the character she's portraying which makes the situation credible and involving for the listener. At the same time, we can't overlook a tendency to overstatement and exaggeration and a breathiness to some of the delivery which can be an annoying mannerism. But where else can one get such excitement and commitment coupled with an irresistible charm in a singer so clearly at her peak? Most/all of the arias and operas here are virtually unknown; this CD whets our appetites for more Salieri. The accompaniments are as superbly thought-out and played as one would hope for--the wacky pizzicato strings and solo wind and brass lines in an aria from La Cifra, for instance, will delight. Bartoli fans and fans of great singing should not wait another moment before ordering this. ---Robert Levine, Editorial Reviews

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01. Francesco Domenico Araia - 'Vado a morir' (La forza dell'amore e dell'odio)
02. Hermann Raupach - 'Разверзни пёс гортани, лая' (Gerkules)
03. Hermann Raupach - 'Иду на смерть' (Altsesta)
04. Hermann Raupach - 'O placido il mare' (Siroe, re di Persia)
05. Domenico Dall'Oglio / Luigi Madonis - 'De miei Figli' (Prologo a 'La Clemenza di Tito')
06. Vincenzo Manfredini - 'Fra' lacci tu mi credi' (Carlo Magno)
07. Francesco Domenico Araia - 'Pastor che a notte ombrosa' (Seleuco)
08. Hermann Raupach - Marcia (Altsesta)
09. Vincenzo Manfredini - 'Non turbar que' vagi rai' (Carlo Magno)
10. Domenico Cimarosa - 'Agitata in tante pene' (La vergine del sole)
11. Vincenzo Manfredini - 'A noi vivi donna eccelsa' (Carlo Magno)

Cecilia Bartoli, mezzo-soprano
Marco Brolli, flute
Michele Pasotti, archlute
Pier Luigi Fabretti, oboe
Jean-Marc Goujon, flute
Corrado Giuffredi, clarinet
Silvana Bazzoni, soprano

Coro della RSI Radiotelevisione svizzera, chorus
Gianluca Capuano, chorus master
I Barocchisti, Baroque ensemble
Diego Fasolis, conductor

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. The booklet brings up the Catherine the Great horse legend for no very good reason. Yet, as so often with Bartoli, the whole adds up to so much more than the sum of the objections. She is fearless in many ways here, not just in convincingly bringing home repertory her listeners will never have heard, but in blowing past classifications of vocal range: Bartoli may conventionally be seen as a mezzo, but the material here ranges from full-blown opera seria soprano almost down to contralto in a few cases, where Bartoli's voice takes on a lovely burnished tone. Whatever faults you might find, this is tremendously exciting stuff, not boring for a second. ---James Manheim, AllMusic Review

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01. Dorilla in Tempe / Act 1 - Dell'aura al sussurrar
02. Griselda / Act 3 Scene 6 - Dopo un' orrida procella
03. Di Due Rai Languir Costante
04. L'Orlando Finto Pazzo / Act 3 - Qual favellar... Andero, volero, gridero
05. Ercole sul Termodonte - Zeffiretti che sussurate
06. La Fida Ninfa / Act 1 Scene 9 - Alma oppressa
07. La Fida Ninfa / Act 3 Scene 10 - Dite oime
08. Il Giustino / Act 2 Scene 13 - Sventurata navicella
09. Il Giustino / Act 2 Scene 13 - Sorte, che m'invitasti.. Ho nel petto un cor si forte
10. L'Olimpiade / Act 2 Scene 5 - Tra le follie...Siam navi all'onde algenti
11. Il Farnace / Act 2 Scene 5 - Gelido in ogni vena
12. Il Bajazet (Il Tamerlano) / Act 2 - Anch'il mar par che sommerga
13. Il Teuzzone / Act 2 Scene 1 - Di trombe guerriere

Cecilia Bartoli – mezzo-soprano
Arnold Schoenberg Choir
Il Giardino Armonico
Giovanni Antonini – conductor

Mezzo Cecilia Bartoli could easily rest on her laurels as one of today's most charismatic, characterful 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 tantalizing 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 international 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 theaters of his time, and the arias gathered here demonstrate the word-painting magic of his music, from the sylvan setting of dueting 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 color of her phrasing is wonderfully matched throughout by the Giardino Armonico's lively panache. All power to Bartoli in her goal of reviving this neglected aspect of Vivaldi's output. --Thomas May, Editorial Reviews

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01. La clemenza di Tito Act 1 - "Parto, ma tu ben mio"
02. Così fan tutte Act 1 - "Temerari! Sortite!" - "Come scoglio!"
03. Così fan tutte Act 1 - "In uomini, in soldati"
04. Le nozze di Figaro Act 2 - "Voi che sapete"
05. Le nozze di Figaro Act 4 - Giunse alfin il momento...Deh, vieni, non tardar...
06. Don Giovanni Act 1 - "Batti, batti, o bel Masetto"
07. Ch'io mi scordi di te... Non temer, amato bene, K.505
08. Se tu m'ami (formerly attributed to Pergolesi)
09. Caro mio ben
10. Amarilli mia bella
11. La pastorella, D.528
12. Vedi quanto adoro ancora ingrato! D.510
13. Beltà crudele
14. Semiramide Act 1 - Bel raggio lusinghier
15. Maometto II Act 1 - (3b) Preghiera: "Giusto Cielo, in tal periglio" (Anna, Coro) - Scena: "Ahi, padre!" (Anna, Erisso)
16. La Cenerentola Act 2 - "Nacqui all'affanno e al pianto" - "Non più mesta" Fernanda Costa

The greatness in art lies in its flexibility and Bartoli exemplifies this greatness in everything she sings! Bartoli reveals different things at different times. In the world of opera Bartoli stands at the summit of achievement, her work is so perfect, so inspired and heartfelt, so gloriously engaging that it is almost impossible to do it violence. She is, of course, frequently staged and as a result has been at the mercy of numerous operatic fads. Yet Bartoli has faced such slings and arrows bravely. Bartoli's effusive Susanna forced audiences to consider the opera with her at its center. Her chemistry as Susanna is explosive. Bartoli's roles and characterizations must never be minimized. Thanks to her unusual exuberance, Bartoli is reveling in opera's virtues and it is a never-ending project. Mozart and da Ponte were nothing if not operatic sorcerers, and, in the end, it is the composer's touching strains and the librettist's wise seriocomic text that overwhelm us again and again! --- Raymond Vacchino, amazon.com

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01. Gia il sole dal gange
02. Son tutta duolo
03. Se Florindo è fedele (from "La donna ancora è fedele")
04. O cessate di piagarmi (from Il Pompeo)
05. Spesso vibra per suo gioco
06. Caro mio ben
07. Pur dicesti, o bocca bella
08. Orontea - Intorno all'idol mio
09. Nel cor più non mi sento
10. Nina, o sia la Pazza per Amore - Il mio ben quando verrà
11. O leggiadri occhi belli
12. Quella fiamma che m'accende
13. Selve amiche
14. Sebben crudele mi fai languir'
15. Tu ch'hai le penne, amore
16. Se tu m'ami (formerly attributed to Pergolesi)
17. Chi vuol la zingarella (from Zingari in Fiera)
18. Amarilli mia bella
19. Delizie contente
20. Sposa son disprezzata
21. Vittoria, mio core!

Cécilia Bartoli – mezzo-soprano
György Fischer – piano

I have always appreciated the lower voice ranges infinitely more than the higher ones. Mezzo-soprano Cecilia Bartoli is one of the most interesting talents to have come along during the past years in that department. This album is comprised of the so-called 'Arie Antiche', and of all her recordings, it is this album which is the most dear to me. Here she presents to the listener a programme of Baroque composers, with the exception of the Parisotti aria (19th century), which has for long been attributed to Pergolesi. The featured composers are: Scarlatti, Giordani, Lotti, Cesti, Paisiello, Marcello, Caldara, Caccini, Parisotti, Cavalli, Vivaldi and Carissimi. The 'Arie Antiche' are often dreaded by singers and may well serve as a test case of their vocal abilities. Cecilia Bartoli pulls it off beautifully, and this is the kind of repertoire which I love best. She imbues her performances with such warmth and intelligence! Bringing out every colour and nuance of these songs which deal with love, loss and heartbreak. Her rendition lends the 'Arie Antiche' a freshness as if the composers had just written these for her. Since respect for the composers and musical integrity are always central to her approach of music and song. Gyorgy Fischer lends her a fine, sparkling and attentive support on piano. The accompanying booklet contains information on the 'Arie Antiche', the Italian texts and English translations.

Some favourites are; 'Gia sole del Gange', 'Caro mio ben', 'Pur dicesti, o bocca bella', 'Amarilli' or 'Vittoria, Vittoria'. In my opinion, an indispensable album for admirers of Cecilia Bartoli and the Baroque period. ---stardustraven, amazon.com

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Così fan tutte
1.Temerari!... come scoglio
2.Ei parte...Per pietà,ben mio
3.In uomini, in soldati

Le nozze di Figaro
4.E Susanna non vien!'... Dove sono i bei momenti
5.Giunse alfin il momento... Al desio

Don Giovanni
6.Batti, batti, oh bel Masetto
7.In quali eccessi.. Mi tradi quell'alma ingrata

David penitente, K469
8.Lungi le cure ingrate

9. Exultate Jubilate

Cecilia Bartoli – soprano
Vienna Chamber Orchestra 
Gyorgy Fischer – conductor

For more than two decades, Cecilia Bartoli has undeniably been one of the leading artists in the field of classical music. All over the world, her new operatic roles, her concert programs and recording projects – in exclusivity with Decca - are expected with great eagerness and curiosity. The exceptional amount of 6 million CDs sold, more than 200 weeks ranking in the international pop charts, numerous Golden Discs, 4 Grammys (USA), 7 Echos and a Bambi (Germany), two Classical Brit Awards (UK), the Victoire de la Musique (France) and many other prestigious awards reflect the immense success of her solo albums "Vivaldi", "Gluck", "Salieri" and "Opera proibita" and that she is firmly established as today’s "best selling classical artist".

Thus, Cecilia Bartoli brings Classical Music close to the hearts of millions of people throughout the world. Apart from that, she is proud that through their popularity, her projects have caused a wide-spread re-evaluation and rediscovery of the neglected composers and forgotten repertoire which she puts up for discussion.

It is not surprising that Herbert von Karajan, Daniel Barenboim and Nikolaus Harnoncourt were among the first conductors Cecilia Bartoli worked with. They noticed her talent at a very early stage when she had barely completed her vocal studies with her parents in her home-town Rome. Since then, many further conductors, pianists and orchestras of highest renown have been her regular partners. In recent years, her work has begun to focus on collaborations with the most significant period instrument orchestras (Akademie für Alte Musik, Les Arts Florissants, Concentus Musicus Wien, Freiburger Barockorchester, Il Giardino Armonico, Kammerorchester Basel, Les Musiciens du Louvre, Orchestra of the Age of Enlightenment, Orchestra La Scintilla). Projects with orchestras where Cecilia Bartoli assumes the overall artistic responsibility have become increasingly important to her and were crowned by the jointly developed and performed programmes with the Vienna Philharmonic Orchestra.

Cecilia Bartoli regularly sings in the most important concert halls in Europe, the United States and Japan. Her stage appearances include prestigious opera houses and festivals such as the Metropolitan Opera in New York, the Royal Opera House Covent Garden in London, La Scala in Milan, the Bavarian State Opera in Munich, the Salzburg Festival and the Zürich Opera House, where she has presented many of her operatic roles for the first time. Most recently, her roles have included Rossini's Fiorilla in "Il Turco in Italia" at Covent Garden and two Handelian heroines, Cleopatra (in "Giulio Cesare" with Marc Minkowski) and Semele (with William Christie) in Zurich.

In 2007/08 Cecilia Bartoli devotes her time to the early 19th century - the era of Italian Romanticism and Belcanto - and especially the legendary singer Maria Malibran. Her 200th birthday on 24th March 2008 was marked by a historical day in Malibran’s birthplace Paris: Cecilia Bartoli sang 3 concerts in one day as the centre-piece of a Malibran-Marathon at Salle Pleyel – collaborating with Lang Lang, Vadim Repin, Adam Fischer and Myung-Whun Chung – while the City of Paris showed her Barcelona Concert on a big screen outside the Hôtel de Ville, where Cecilia Bartoli’s mobile Malibran Museum was stationed to honour that special day. Further bicentenary events were the CD “Maria”, the DVD “The Barcelona Concert/Malibran Rediscovered”, extensive concert tours as well as operatic appearances as Cenerentola, Sonnambula and Halevy’s Clari – in a Malibran-opera which had not been performed since 1829.

Cecilia Bartoli has been endowed with the Italian Knighthood and is an "Accademico effettivo" of Santa Cecilia, Rome, a French "Chevalier des Arts et des Lettres" and an "Honorary Member" of the Royal Academy of Music, London. ---amazon.com

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