Arie Antiche Bartoli
View record and artist detailsRecord and Artist Details
Composer or Director: Alessandro Marcello, Giacomo Carissimi, Giulio Caccini, Antonio Caldara, Antonio Vivaldi, Anonymous, Antonio Lotti, Giovanni Paisiello, (Pietro) Alessandro (Gaspare) Scarlatti, Tommaso Giordani, Antonio Cesti, (Pietro) Francesco Cavalli, Alessandro Parisotti
Label: Decca
Magazine Review Date: 12/1992
Media Format: CD or Download
Media Runtime: 66
Mastering:
DDD
Catalogue Number: 436 267-2DH
Tracks:
| Composition | Artist Credit |
|---|---|
| (L') Honestà negli amore, Movement: Già il sole dal Gange |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| (La) Donna ancora è fedele, Movement: Son tutta duolo |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| (La) Donna ancora è fedele, Movement: Se Florindo è fedele |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| (Il) Pompeo, Movement: O cessate di piagarmi |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| Spesso vibra per suo gioco |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| Caro mio ben |
Tommaso Giordani, Composer
Cecilia Bartoli, Mezzo soprano György Fischer, Piano Tommaso Giordani, Composer |
| Arminio |
Antonio Lotti, Composer
Antonio Lotti, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| (I) casti amori d'Orontea, Movement: Intorno all'idol mio |
Antonio Cesti, Composer
Antonio Cesti, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| (L')Amor contrastato, 'La Molinara', Movement: Nel cor più non mi sento |
Giovanni Paisiello, Composer
Cecilia Bartoli, Mezzo soprano Giovanni Paisiello, Composer György Fischer, Piano |
| Nina, o sia La pazza per amore, Movement: Il mio ben quando verrà |
Giovanni Paisiello, Composer
Cecilia Bartoli, Mezzo soprano Giovanni Paisiello, Composer György Fischer, Piano |
| O leggiadri occhi belli |
Anonymous, Composer
Anonymous, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| Qual fiamma che m'accende |
Alessandro Marcello, Composer
Alessandro Marcello, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| Selve amiche |
Antonio Caldara, Composer
Antonio Caldara, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| Sebben crudele me fai languir |
Antonio Caldara, Composer
Antonio Caldara, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| (Le) nuove musiche, Movement: Amarilli mia bella (wds. G. B. or A. Guarini) |
Giulio Caccini, Composer
Cecilia Bartoli, Mezzo soprano Giulio Caccini, Composer György Fischer, Piano |
| Nuove musiche e nuova maniera de scriverle, Movement: Tu ch'hai le penne (wds. ?Rinuccini) |
Giulio Caccini, Composer
Cecilia Bartoli, Mezzo soprano Giulio Caccini, Composer György Fischer, Piano |
| Se tu m'ami |
Alessandro Parisotti, Composer
Alessandro Parisotti, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| (Il) Zingari in fiera, Movement: Chi vuol la zingarella |
Giovanni Paisiello, Composer
Cecilia Bartoli, Mezzo soprano Giovanni Paisiello, Composer György Fischer, Piano |
| Giasone, Movement: Delizie contente |
(Pietro) Francesco Cavalli, Composer
(Pietro) Francesco Cavalli, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| Sposa son disprezzata |
Antonio Vivaldi, Composer
Antonio Vivaldi, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| Vittoria, mio core! |
Giacomo Carissimi, Composer
Cecilia Bartoli, Mezzo soprano Giacomo Carissimi, Composer György Fischer, Piano |
Composer or Director: Alessandro Marcello, Giacomo Carissimi, Giulio Caccini, Antonio Caldara, Antonio Vivaldi, Anonymous, Antonio Lotti, Giovanni Paisiello, (Pietro) Alessandro (Gaspare) Scarlatti, Tommaso Giordani, Antonio Cesti, (Pietro) Francesco Cavalli, Alessandro Parisotti
Label: Decca
Magazine Review Date: 12/1992
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 436 267-4DH
Tracks:
| Composition | Artist Credit |
|---|---|
| (L') Honestà negli amore, Movement: Già il sole dal Gange |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| (La) Donna ancora è fedele, Movement: Son tutta duolo |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| (La) Donna ancora è fedele, Movement: Se Florindo è fedele |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| (Il) Pompeo, Movement: O cessate di piagarmi |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| Spesso vibra per suo gioco |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| Caro mio ben |
Tommaso Giordani, Composer
Cecilia Bartoli, Mezzo soprano György Fischer, Piano Tommaso Giordani, Composer |
| Arminio |
Antonio Lotti, Composer
Antonio Lotti, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| (I) casti amori d'Orontea, Movement: Intorno all'idol mio |
Antonio Cesti, Composer
Antonio Cesti, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| (L')Amor contrastato, 'La Molinara', Movement: Nel cor più non mi sento |
Giovanni Paisiello, Composer
Cecilia Bartoli, Mezzo soprano Giovanni Paisiello, Composer György Fischer, Piano |
| Nina, o sia La pazza per amore, Movement: Il mio ben quando verrà |
Giovanni Paisiello, Composer
Cecilia Bartoli, Mezzo soprano Giovanni Paisiello, Composer György Fischer, Piano |
| O leggiadri occhi belli |
Anonymous, Composer
Anonymous, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| Qual fiamma che m'accende |
Alessandro Marcello, Composer
Alessandro Marcello, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| Selve amiche |
Antonio Caldara, Composer
Antonio Caldara, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| Sebben crudele me fai languir |
Antonio Caldara, Composer
Antonio Caldara, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| (Le) nuove musiche, Movement: Amarilli mia bella (wds. G. B. or A. Guarini) |
Giulio Caccini, Composer
Cecilia Bartoli, Mezzo soprano Giulio Caccini, Composer György Fischer, Piano |
| Nuove musiche e nuova maniera de scriverle, Movement: Tu ch'hai le penne (wds. ?Rinuccini) |
Giulio Caccini, Composer
Cecilia Bartoli, Mezzo soprano Giulio Caccini, Composer György Fischer, Piano |
| Se tu m'ami |
Alessandro Parisotti, Composer
Alessandro Parisotti, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| (Il) Zingari in fiera, Movement: Chi vuol la zingarella |
Giovanni Paisiello, Composer
Cecilia Bartoli, Mezzo soprano Giovanni Paisiello, Composer György Fischer, Piano |
| Giasone, Movement: Delizie contente |
(Pietro) Francesco Cavalli, Composer
(Pietro) Francesco Cavalli, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| Sposa son disprezzata |
Antonio Vivaldi, Composer
Antonio Vivaldi, Composer Cecilia Bartoli, Mezzo soprano György Fischer, Piano |
| Vittoria, mio core! |
Giacomo Carissimi, Composer
Cecilia Bartoli, Mezzo soprano Giacomo Carissimi, Composer György Fischer, Piano |
Author: hfinch
The aria anticha has at last shaken off any remaining Cinderella rags, and been swept off to the party. Cecilia Bartoli, not surprisingly, has provided the vocal finery which reveals the true nature of these songs: they are not made to be confined to warming up exercises or to the singing studio, but to release their own little emotional vignettes in a voice simply delighting in what it is dared to do.
The voice almost laughs its way up the scale in Gia il sole dal Gange, and revels in Spesso vibra per suo gioco, as Scarlatti's wordplay tickles the larynx. Bartoli makes one believe that hers is exactly the quality of voice for which the melody of Caro mio ben was first heard and written: tasting the colour of each passing register, essentially youthful, yet with a dark underside of period melancholy.
For the two Caldara songs, Bartoli focuses on the voice as wind instrument, living in the air moving through their languid legato. This changes to a more austere, matt surface for the Caccini. This way of drawing out the essential character of each song by putting her own imprint on it is quintessential Bartoli. For Scarlatti's Se Florindo e fedele she moves from coyness to hauteur in her ever richer low register, as if she were in the midst of a neo-classical pastoral. Her dialogue with the piano is particularly telling here: Gyorgy Fischer's playing is a delight, making even the most trying passages of manner and mannerism ever-vigilant, never matter-of-fact.
The rhythmic muscle of these arie is toned up considerably by Bartoli. In Lotti's Pur dicesti she tugs against the jaunty accompaniment and teases the melody with rubato and ornamentation which never loses sight of its contour. The old war-horse ofSe tu m'ami is turned into a lively pony, with its frisky tempo changes matched by the reveilles of Bartoli's final ''Vittoria!'''
The voice almost laughs its way up the scale in Gia il sole dal Gange, and revels in Spesso vibra per suo gioco, as Scarlatti's wordplay tickles the larynx. Bartoli makes one believe that hers is exactly the quality of voice for which the melody of Caro mio ben was first heard and written: tasting the colour of each passing register, essentially youthful, yet with a dark underside of period melancholy.
For the two Caldara songs, Bartoli focuses on the voice as wind instrument, living in the air moving through their languid legato. This changes to a more austere, matt surface for the Caccini. This way of drawing out the essential character of each song by putting her own imprint on it is quintessential Bartoli. For Scarlatti's Se Florindo e fedele she moves from coyness to hauteur in her ever richer low register, as if she were in the midst of a neo-classical pastoral. Her dialogue with the piano is particularly telling here: Gyorgy Fischer's playing is a delight, making even the most trying passages of manner and mannerism ever-vigilant, never matter-of-fact.
The rhythmic muscle of these arie is toned up considerably by Bartoli. In Lotti's Pur dicesti she tugs against the jaunty accompaniment and teases the melody with rubato and ornamentation which never loses sight of its contour. The old war-horse of
Arie Antiche Bartoli
Arie Antiche Bartoli
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