Відео

There is no better Mozart singer

Voi avete un cor fedele, Come amante appassionato: Ma mio sposo dichiarato, Che farete? cangerete? Dite, allora che sarà? Manterrete fedeltà? Ah! non credo. Già prevedo, Mi potreste corbellar. Non ancora, Non per ora, Non mi vuò di voi fidar.

Grande interprete❤

Здравейте Буш, знаете моята машина, пуснете ми клипа за да си откупите главата!?

The Queen!❤

Que maravillosa

Troppo veloce !

Mom loved her and chuckled about her seeking out forgotten composers, which is also my passion.

Dona de uma voz espetacular.

Genial.

Maravilhosamente belo❤

Voi avete un cor fedele, Come amante appassionato: Ma mio sposo dichiarato, Che farete? cangerete? Dite, allora che sarà? Manterrete fedeltà? Ah! non credo. Già prevedo, Mi potreste corbellar. Non ancora, Non per ora, Non mi vuò di voi fidar

Cecilia hat 1986 zusammen mit Sumi Jo bei Karajan vorgesungen. Zwei sehr unterschiedliche Temperamente. Hier Sumi Jo zum Vergleich: ua-cam.com/video/HklO4P0Cy0E/v-deo.html

Чудо,которое послал Бог на нашу землю.

She is really amazing but the tempo is sooo slowly anyway she is a genious jejejeje

Cecilia Bartoli ha una padronanza della propria voce della tecnica che mette quasi paura per la sua bravura.

The impressive Cecilia Bartoli! K217 Reworked aria from: Pasquale Anfossi Metilde ritrovata (dramma giocoso per musica : da rappresentarsi ne' Teatri privilegiati di Vienna 1773). This aria, dated October 26, 1775, was written by Mozart to be inserted in Le nozze di Dorinda, an opera buffa by Baldassare Galuppi. The opera was brought to Salzburg by an Italian traveling company, which, needing to provide a new aria for its prima donna, commissioned it from a local composer, Mozart. Written for the title character Dorinda, it is a beautiful aria that is at the same time comical and contemptuous. The libretto for the opera was by the great dramatist Carlo Goldoni, but it is unknown who adapted this aria text for Mozart.

Ce n'est pas l'air initial écrit pour Nancy Storace ! Quel dommage !

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The conductor is too slow, and the mezzo constantly fills her voice with air - not a good rendition.

❤️👏❤️🙏

Straordinaria interpretazione!

Gracias por tan agraciada presentación. Eres única!

AWESOME AND BEYOND-Excellent interpretation, commitment to the text and FANTASTICALLY SUNG PTL

he always conduct so slow.....

Love her

Qué tercia para una murga.

Cara Cecilia tu sei unica! ❤️👋👋👋👋👋👋

Such innate musicality. I love this !

When I see Cecilia Bartoli, I like the video before the orchestra even starts playing

08:52

08:34 08:35

Bravo Cecilia.perfetto.eccellenza.

I come with tears ,I love Bartoli

Brava...

How can one aria be so beautiful, Bartoli such a voice , such emotions, music flow gently and overwhelmingly surround you, Harnoncourt knows exactly what he is doing,.. just heavenly!

👏✨🏆✨❤️💕💞💎🥇👍

Superlativa, eccellente,ci riporti a quel tempo con tanta gioia ed emozione.🎼🎶🎶🎶🎶🎶🎶👍

Cecilia Bartoli’s masterful interpretation of K. 528 (completed by Mozart on 3 Nov 1787) is a stunning ‘near-reincarnation’ of Josefa Duschek for whom Mozart compos’d this scena - what a performance ! Bravissima Madama !! You are not only a national treasure of Italy but a World Treasure to be regarded as a precious Gift for all humanity !! Here (for those of us who revere the great Mozart’s Music to near idolatry...) is some background as to how this beautiful scena sprang into existence... Mozart arriv’d in Prague with Lorenzo da Ponte in September of 1787 to work out Act II of Don Giovanni - and although he and his wife Constanza were install’d in a hotel with a balcony adjoining DaPonte’s balcony (they used to shout ideas for Act II across them, it is said) he often stay’d at the Villa Betramka own’d by Frantisek & Josepha Duschek (for whom he had already compos’d ‘Ah lo previdi K. 272 in Mannheim in 1777 & who would later sing the role of Vitellia in La Clemenza di Tito, premier’d in Prague in 6 Sept 1791)-after the premiere of D: Giovanni (29 Oct 1787) when ‘Mozart no longer could come up with excuses not to do so...’ Josepha reminded him that he still had not yet set the grand concert aria she had provided him with words taken from Nicolo Jommelli’s 1772 Opera-festa teatrale ‘Cerere Placata’ (the Libretto was written by the Neopolitan polyglot medical doctor Michele Sarcone, 1731-1797) taken from Act 3 scene 9 where ‘Timano’ is about to be sacrificed for running off with Proserpina against Queen Ceres orders): By 31 October (Mozart’s name Day - The Feast of St Wolfgang, according to the Karl Mozart anecdote published in 1856 in the Berliner Zeitung, nearly 70 years later) Josepha sternly reminded M. that she had not yet seen the finish’d & promised grand scena - only sketches... Josepha was infamous for her over-exaggerated theatrical performances which drew the criticism of critics like Burney and even Leopold Mozart who thought her grimaces on stage were tastelessly over the top...but Mozart himself never seem’d to have complain’d of Josepha’s alleged histrionics (his usual complaint was when his singers ‘lack’d dramatic action’ on the stage...) But Josefa was not to be put off any longer -she decided to double-bolt the gates of the Villa Betramka’s Park Pavillion telling M. that he could not leave the property unless he finish’d what he had started -and even provided him with the same desk out on the porch he would us’d to orchestrate D: Giovanni earlier in October that year-with freshly sharpen’d quills, a full pot of ink & plenty of lin’d-Staff’d paper-no excuse this time ! He reluctantly agreed to her demands-but with one condition - he would write the scena (‘Bella Mia fiamma...Resta, o Cara!’) technically in C-major-but from the point where his preliminary draft had broken off (which to judge from the score where the ‘chromatic gymnastics begin’) i.e. the point after approx 16-bars following the opening of the Aria (‘Resta, o Cara!’) he would deliberately add the most difficult chromatic incidentals and ‘unusual skips’ for the human voice to sing properly - which she would have to sing ‘precisely as written’ at first sight-or he would throw the score into the fireplace ! - Apparently Josefa manag’d to satisfy him well enough (despite all the passaggi terribili) and this difficult scena was sung by her ever since in many of her later Concerts (e.g. Dresden in 1789)... Here (see below) is a rough English prose translation of the Italian poetic text of Dr Sarcone from his famous Neopolitan festa teatrale Cerere Placata of 1772 (Act 3 Scene 9) where the lover Timano takes his final leave of Proserpina before his execution upon the Altar order’d by the Earth Mother Ceres for disobeying the Fates : Grand Recitativo Accompagnato TIMANO ‘Beautiful Flame, Farewell ! The Heavens have not intended happiness for us-for even prior to our knot being tied, those sacred threads which were to bind both our two souls together by our singular passion were destin’d by the Fates to be sever’d ! Therefore I desire that you continue to live on ! Yield to your sacred Duty (to marry the god of the Underworld, viz. Dis / Hades) - and to the Decree of the Immortal Fates ! My death shall absolve you from any promises you had previously made to me ! When you are finally join’d in matrimony to a more ‘divinely ordain’d’ mate - may your life be happy & full of Joy ! I wish you always to remember me-of course-ah, but please for heaven’s sake do not to allow any stray memories of our love creep into your dreams when you go to sleep at night ! I now go, Queen Mother Ceres, in obedience to your command - but know this : only my death alone can stop these ravings of mine ! Ceres, Alpheos, my beloved Heart - Fare Thee Well for ever !! ARIA : But stay a while, dearheart, just at the very moment that death shall tear me away from you forever, oh ye gods !! Ceres, Alpheos ! May you two gods look after her and comfort her to the bitter end ! I now must go, alas ! Therefore, I must now bid you Good Bye Forever ! Ah, this anguish, this step I must now take, is so hard for me to bear ! Where is the Temple, where the Altar whereupon I must now be sacrific’d ? Dearheart ! Good Bye for Ever ! Existence as bitter as this can never be endur’d for long !’

This ‘insertion Aria’ was written by Mozart in October 1789 for an upcoming production revival in Vienna of Martin y Soler’s opera ‘Il Burbero di buon cuore’ (‘The goodhearted Grump’ , originally premier’d 7 Jan 1786) Act 2 scene iv where the character of the spendthrift ‘Lucilla’ has just been thrown out of the family by the ‘curmudgeon Faramondo’ for going through her husband’s money & her sister in law’s dowry through expensive clothes & jewelry-and is asking ‘Cupid’ to come to the rescue for her folly...Mozart thought highly of Adriana del Ferarese who was to play Lucilla (she later perform’d the role of Fiordiligi in Cosi fan Tutte, the 200 ducat Scrittura of which was just handed to M. by the Emperor (Cosi premier’d on 26 Jan 1790) and M. compos’d K.583 (and K. 582, Chi sa, chi sa) as replacement ‘insertion’ scenes for the opera (Libretto by Da Ponte) with Martin y Soler having left for St Petersburg in 1788-NB: in 2001 an official BurgTheatre Court Copy of the Score of this Opera shews a Recitativo Accompagnato in c-minor on the front side of the page (22-bars) which is now consider’d to be Mozart’s music as well -so it is my heartfelt wish that the great Cecilia Bartoli will record this newly-discover’d recitativo accompagnato as a prefix to this beautiful aria of the great Mozart - with its heart melting clarinets-we need Cecilia to interpret every single note Mozart intended for this scene !! Bravissima Madama !!!

maravilhosa !, sempre !

Mis dos máximos en este estilo los amo..

Astonishing performance. 👏👏👏

Beautiful and effortless Bartoli 😊

Fantastisk..... Får aldrig nok af Cecilia Bartoli

Voi avete un cor fedele, Come amante appassionato: Ma mio sposo dichiarato, Che farete? cangerete? Dite, allora che sarà? Manterrete fedeltà? Ah! non credo. Già prevedo, Mi potreste corbellar. Non ancora, Non per ora, Non mi vuò di voi fidar

The way she smiles at Harnoncourt at 2:21 just warms my heart. So precious

Go to Tebaldi with her gorgeous voice.

Happy Bday 🍀🎭❤️🌹💥🎼

Voi avete un cor fedele, Come amante appassionato: Ma mio sposo dichiarato, Che farete? cangerete? Dite, allora che sarà? Manterrete fedeltà? Ah! non credo. Già prevedo, Mi potreste corbellar. Non ancora, Non per ora, Non mi vuò di voi fidar.