Date: April 17, 2010. Held Cultural Center Miguel Delibes, Valladolid.
Context: Concerto Number Four within the cycle Great Opera Voices of CCMD.
Program: Sacrificium: La scuola dei castrati. Parts Nicola Porpora, Riccardo Broschi, Francesco Maria Veracini, Leonardo Vinci, Leonardo Leo, Francesco Araia, Carl Heinrich Graun, Alessandro Scarlatti, Antonio Caldara, and George Frideric Handel.
Cast: Cecilia Bartoli & La Scintilla. Ada Pesch, concertmaster.
Beauty, excitement, wonder, unrepeatable, tears, happiness ... These were some of the nicknames that could be heard in the stalls of the giant symphony hall of CCMD Valladolid, at halftime and final concert of the unique Roman mezzo, Cecilia Bartoli , I had to either play within their English tour, which had its last record-record for the label Decca - dedicated to the figure of the castrated singers in the Italian Baroque.
is well known, for all passionate fans of Baroque music, the excellent quality of this singer, but to see it live is always a special and unique experience for all your figure fired.
Needless to say, the almost 1800 places in the symphony hall, one of the largest Europe, of course, were absolutely packed audience, an audience of those totally Delivered to the "diva" respectful "except" cenutrios "always-excited and anxious that the show did not cease for nothing.
The program, which attached pictures, it was really generous and very beautiful, selecting all the pieces on the disc and one or more to shine, to which add, too, instrumental pieces interspersed between the vocal parts.
For anyone who has heard the album , it is necessary to point out that it is everything from merely virtuosic arias, in which Bartoli shows its technical potential to other arias really expressive, where slow tempi are chosen, arias in which to mostar that not all fireworks in the singing of the mezzo. Highlighting some of the pieces is really complex, but I must admit I was really surprised at the indescribable beauty of some of the arias do not appear on the disc, such as Graun, which had the smoothness of the strings that sway in the most serious of the staff, and Chi al mio dolore non present in Broschi, a really exciting aria, which shows the most raw agony of someone who has lost everything. Another absolutely brilliant moment was when we offered, second tip, the famous Lascia la Spina, release of "Cogli rose from Handel. Probably is the best version I have ever heard, with a sweetness and delicacy and astonishing instrumental accompaniment worthy of vocal range displayed. In addition, the da capo awesome, which made no ornamentation at all, but it did in pp , finished me ice cream. Something magical.
Bartoli proved to be safe at all times, smiling, happy, expressive, emotion-not surprising ease having to internalize the papal interpretation, vibrant, and so on. The ridge line of the Roman no longer a secret to anyone. Not a big voice, While it is true, but do not stop being curious and assertive than it is, perhaps, the voice that is eating much of the music scene today is one of those who some call "small." You may not have a projection bestial, although it is not true what some say that from row 10 is left to hear, "but what makes this lady is beyond the reach of virtually anyone but herself. Its ease of coloratura, incredible fiat, vocal expressiveness, its overwhelming "pianos" his tenuti unusual, elegance in phrasing, the astonishing precision of its staccati the tremendous demands on each note that canta, esa solvencia técnica que la permite coger una nota en piano, aumentarla una octava y mantenerla ahí, con un sonido nítido pero casi inapreciable, y hacer con ella lo que quiere, manteniéndote en vilo; en fin, una pasmosa superioridad vocal, que no hace sino convertirla en la cantante mejor dotada técnicamente que yo haya escuchado. Pero no es sólo eso, pues uno puede pensar "vale, es muy buena, pero ¿consigue emocionar o es sólo una máquina de soltar notas a una velocidad vertiginosa?" Pues bien, no es que sólo sea capaz de interpretar, con la misma solvencia, arias de bravura de las más endiablada complicación, sino que también es capaz de regalarse momentos realmente mágicos, playing slow airs, those with depth and expressive depth, those that make you stay glued to the seat, but also goes beyond the view you get on paper, suffer the vicissitudes of the protagonist and finished with glazed eyes and needing time to absorb what just expressed. That, dear readers, is available to almost anyone. Therefore, I think a superlative singer, single, unique and born to do what he does. The orchestral accompaniment was provided by the Swiss baroque orchestra La Scintilla one of those chamber ensembles that are extracted from other conventional orchestras-that of the Zurich Opera House, in this case, and act without a fixed director. In this case, the master hand fell on the American baroque violinist Ada Pesch, familiar figure on the international scene and perfect knowledge of orchestral instruments at hand.
started something cold, trying to acclimate to the room and Bartoli's vocal skills, but quickly began to fall into place, and after tuning some small problems with the baroque violin seconds and occasional rhythmic mismatch, La Scintilla started to show why they were chosen to accompany the mezzo for several European concerts. The Swiss are not Il Giardino Armonico, ie not expected unleashed rhythms, and strong performances in bravura arias. The Scintilla is a more restrained in how they deal with the Agogo and dynamics of the pieces, however, were quite strong, brave in the arias really fast and very lyrical in the slow-where they obtained their best results. Knew at all times sound and grade their clothing in proper measure to Bartoli, perhaps too much at times where they just listened. Assumed a secondary role in the arias, while displaying all their weapons in the purely instrumental pieces. Include its excellent performance in Scarlatti's Sinfonia and the opening of Porpora.
The level of the soloists, especially the winds, touched excellence in many moments. Deserve special mention recorders and baroque transverse flute and the baroque horns.
The string sound was very smooth, elegant and refined and very appropriate continuous and discrete in perspective-at times too quiet in the key. Ada Pesch
performed at a high level and bring their mates got where he wanted, which is not without merit.
In short, a spectacle quite memorable. And it was because not every day one is able to overwhelm me in that way in a musical event. Bartoli has the quality to get great thrill and plunge the public cry to his will, which is also the available to very few. Getting that many we will end with the expressive and exciting Bartoli of slow arias, instead of the very famous Bartoli of bravery, the more "commercial" if you want, it does say much in his favor.
An unforgettable concert, very visual, but especially near and beautiful, sublime above all else. I can not conclude without paying the tribute he deserves such a fantastic music. These works, despite its clear focus virtuoso, not at all, free of structural and compositional superlative quality, and contain in their staves times actually as beautiful as they can contain some of the most memorable pages of history.
Finally, I want to refer to the human quality of Cecilia incredible, matched only by its quality as a singer. After two hours of concert was kind enough to come out to greet the many fans who were there waiting. He walked one and a half of their time to people, signing autographs, taking pictures and talking at length with each of the people gathered there, in an act of sympathy as I have seldom witnessed. He was so close, friendly and adorable, it really is finished to give an account of the need for more people like this who are able to move you to the end and then dry your tears you caused.
Araia Francesco (1709-1770): Air I fall, but what we aim , Berenice de la Ópera
Album: Sacrificium
Cecilia Bartoli & Il Giardino Armonico - Giovanni Antonini
Decca Classics, 2010.
Antonio Caldara (1670-1736): Air That I am the good shepherd , de Death of Abel figure that of our Redeemer
Album: Sacrificium
Cecilia Bartoli & Il Giardino Armonico - Giovanni Antonini
Decca Classics, 2010.