I personally did not like Bartoli much in the past 'cause I thought she was exaggerating her feelings. Today, for some reasons, I suddenly realize she was expressing her feelings toward the lyrics thoroughly... It's beyond all singing techniques. (no doubt, Bartoli has great singing skills..). Bravo, Bartoli!!
Ms. Bartoli is a magnificent singer, and this is one of my favorite arias. And indeed, she sings it magnificently. I just . . . can't watch her while she sings it. Is it just me?
markpkessinger no it’s not just you haha. In sweet arias without a lot of coloratura and tessitura shifts she’s very expressive and doesn’t pull too many faces but I agree it gets unnerving lol
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!
One of Mozarts lesser known works. As to Bartoli: She has over the years matured and improved as experience has given her a better projection. The technique, pitch, range and quality has always been there. She is stubborn and aggressive as Hell - but uses tons of her charm. She more or less is nails Susanna, Elvira, Zerlina (? haven't seen it). She presses the limits all the time and uses tricks no other can - yodelling, giggling etc.
Thomas Borgsmidt What I notice is her work with register changes - she yodels - but under control. She has a lovely lower register with lots of colour - and what you call it. There has gone a lot of work into that. Register changes is Hell, according to Horne. She suits the clarinette and vice versa.
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 !!!
I personally did not like Bartoli much in the past 'cause I thought she was exaggerating her feelings. Today, for some reasons, I suddenly realize she was expressing her feelings toward the lyrics thoroughly... It's beyond all singing techniques. (no doubt, Bartoli has great singing skills..).
Bravo, Bartoli!!
Ms. Bartoli is a magnificent singer, and this is one of my favorite arias. And indeed, she sings it magnificently. I just . . . can't watch her while she sings it. Is it just me?
markpkessinger no it’s not just you haha. In sweet arias without a lot of coloratura and tessitura shifts she’s very expressive and doesn’t pull too many faces but I agree it gets unnerving lol
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!
Personally I put Cecilia Bartoli #1 soprano (used to be mezzo though). Her voice range is amazing. Definitely gifted!!
Se-Kang Kim I always thought she was a mezzo
Katie K she is. And says she’s a mezzo soprano herself.
One of Mozarts lesser known works.
As to Bartoli: She has over the years matured and improved as experience has given her a better projection. The technique, pitch, range and quality has always been there.
She is stubborn and aggressive as Hell - but uses tons of her charm. She more or less is nails Susanna, Elvira, Zerlina (? haven't seen it). She presses the limits all the time and uses tricks no other can - yodelling, giggling etc.
Thomas Borgsmidt What I notice is her work with register changes - she yodels - but under control. She has a lovely lower register with lots of colour - and what you call it. There has gone a lot of work into that.
Register changes is Hell, according to Horne.
She suits the clarinette and vice versa.
@@thomasborgsmidt304 Yes! and what versatility she has to call upon. I find it upsetting that others cavil at her individual traits.
La diosa del canto 🎵
Thank you! my favorite singer! Angel!
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 !!!
Just beautiful...
Braaaaaaaaaaaaaaaaava
❤️👏❤️🙏
Fantastique!
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