Cecilia Bartoli – A Portrait (1995)

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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