Cecilia Bartoli | News | Bartoli at Her Most Beautiful - The Mezzo’s Career-Longassociation With Bel Canto Celebrated on Decca

Decca Classics has assembled some of Cecilia Bartoli’s finest recordings, mixed with previously unreleased material, for a celebration of the operatic genre that has defined her career: bel canto.

Across her nearly four decades on the opera stage, coloratura mezzo-soprano Cecilia Bartoli has proven to the world that bel canto is a more wide-ranging approach to Italian vocal music than generally assumed. On Casta Diva, Bartoli draws on her famous charm, dramatic intensity, and energetic force to reveal that behind the vocal fireworks, bel canto is a musical style that opens up a beautiful and deeply emotive musical world through a sound and well-controlled technique.

Included are unreleased recordings of two arias from Handel’s Alcina as well as duets with Luciano Pavarotti, Bryn Terfel, Juan Diego Flórez, Sumi Jo and Alessandro Corbelli.

Cecilia Bartoli reminds us that the bel canto mindset stretches far beyond the works of the 19th-century Italian masters Bellini, Donizetti and Rossini most associated with the term, which has long denoted a particularly florid, decorative form of singing. Through scholarly research into 1800s vocal technique and orchestral sound, and her own experience on the opera stage, Bartoli has arrived at the strongly held conviction that bel canto’s emphasis on expression through a particularly Italian form of “beautiful” and “proper” singing is rooted in the stylistic traditions of the Baroque and Classical eras.

From repertoire ranging from Handel and Porpora through Gluck and Mozart to the height of what is usually termed the Italian bel canto period, Bartoli brings her unrivalled vocal craftsmanship, articulation, evenness of timbre and expressive powers to bear on some of the most stunning arias and duets ever written. To this she adds the most important ingredients: her singular way of sharing with her audience human drama and her unique feeling for both comedy and tragedy.

Bartoli brings rare intimacy and dignity to the disc’s title track, perhaps the most celebrated aria of the bel canto tradition – Bellini’s Casta Diva, in which the passionate druid Norma opens up her soul in a prayer. We also hear from Bellini’s distraught puritan Elvira and sleepwalking Amina (for which she is joined in duet by tenor Juan Diego Flórez). A lighter tone is introduced by her duet with Luciano Pavarotti, a comic aria from Donizetti’s L’elisir d’amore.

Bartoli reinforces her status as a singing archeologist by bringing us contrasting operatic scenes by Persiani and Pacini that crystalize the early 19th century Italian operatic style. Mozart is represented by an aria from Le nozze di Figaro and a duet from Così fan tutte (with Bryn Terfel) and Gluck by one of Sesto’s most striking arias from the composer’s setting of La clemenza di Tito.

The role of Angelina (Cinderella) in Rossini’s La cenerentola has run through Bartoli’s career like a leitmotif and provided her gateway into the bel canto repertory. She sang it in 1997 when the work had its Metropolitan Opera premiere, and most recently in 2022, when the Roman mezzo made her long-awaited debut at the Vienna State Opera. Here she sings the opera’s Act II aria ‘Nacqui all’affanno e al pianto…Non più mesta’. 

Rossini believed in principles of singing established in the Baroque era and idealized the sound of the castrati. Good reasoning, then, to let Bartoli’s previously unreleased recordings of two arias from Handel’s horizon-broadening masterpiece Alcina see the light of day. The German-born composer’s great rival, Porpora, is represented by an aria from the title character his opera Sifare.

As a risk-taker and visionary who now leads both the Monte-Carlo Opera and Salzburg Easter Festival as Artistic Director, Cecilia Bartoli was quick to engage with the racial upheavals of the Historically Informed Movement and long made it her mission to transfer lessons learned from orchestras to her own vocal technique. In music spanning a century, she demonstrates in Casta Diva how fresh thinking can make music we thought we knew sound reborn.

Joining the mezzo-soprano on recordings from her Decca catalogue are conductors Riccardo Chailly, Giovanni Antonini, Alessandro De Marchi, Bernhard Forck, Myung-Whun Chung, Claudio Abbado and Adam Fischer. Distinguished modern and period-instrument orchestras include the Vienna Philharmonic, the Orchestras of the Teatro alla Scala and Teatro Communale Bologna, the Orchestra of the National Academy of Saint Cecilia, the Orchestra Sinfonica di Milano Giuseppe Verdi, Orchestra La Scintilla, Il Giardino Armonico and the Akademie für Alte Musik Berlin.

Bartoli’s partner for previously unreleased recorded excerpts from Handel’s Alcina is her own orchestra of period instruments, Les Musiciens du Prince-Monaco, conducted by Gianluca Capuano.