I HAVE NO WORDS FOR THIS WOMAN....... SHES PERFECT AND IM OBSESSED!! Cecilia is my rock star!!! I just grin, cry and giggle like little school girl when ever I hear her sing!!
Jim P Very perspicatiously noticed of You! To put it into context: Figaros aria just before had two horns - it is a bit of a trite joke from Mozart as it is a pun on "getting horns" - wife being "infidela". (a joke Verdi also uses later). Now this is the most insincere aria. Notice Cecilias eyebrows ;-) First of all the object is to get the count trapped - that is why Susanna pours the ininduendo on with a shovel - but at the same time is knows/expects Figaro to be listning. And he is going to be teased - big time! Susanna is chuckling and giggling simultaneously - she actually yodels! She honks down in the low register (which Cecilia has a foghorn quality of, when it suits her) - especially on the word "foco" - both cyllables. That is more than deliberate and controlled - it is the point, because in the aria in act 4 just before "Pace, pace, mi dolce tesoro" Figaro similarly blows more or less as deeply as a barytone can be expected to do - on the word "foco" - just before Susanna freaks out and whacks him - but the bastard continues and she really looses it and starts crying because she gets scared he might not love her. Then he comes with Pace, pace... and she realises that teasing is a game two can play - and he thus tells her he realised all the way, that she was pulling his leg. Now this is only half true, as the horn is there as well as the bassoons - the clarinettes are more Susanna - has the same change in character at the change of register as a sopranos voice. So it is "in the air" that Figaro has smelled a rat by her being overly cooíng to the count. But as the horn is playing as well - Figaro is not overly convinced. But for the purpose of making up - it is close enough, like: "I knew all the time!" Like Hell he did! But again - there is no reason to leave the little woman with an unfair advantage - that might later be inconvinient. He knows Susanna does not lie that much, but she tends to leave out things that she doesn't think he should necessarily know. That was how it all started with her disinclination towards their new matrimonial quarters.
I have of course followed her career for years and years and even though she is one of my favorites, I sometimes find her rushing through Rossini too much. I know she can deliver fast fast coloratura but sometimes it doesn’t sound as appealing when it’s too fast (her Turco in Italia on DVD is an example). However she never, NEVER did that to Mozart. Her Mozart line is beautifully controlled and in such style. I love her!
@crepebananenutella she sometimes reminds me of our dachshund. and I loved our dachshund very much! she is a great singer. I hated her when I heard her first like six yrs ago but after that she became my favourite singer. one of the best. :)
Clémentine Poul That is totally warrented here, as the aria is deceptive in intention - both against the count and Figaro. It is exaggerated in words and music with a split audience.
I didn't listen to opera back then, I had no experience and so I somehow didn't like it, it was too different. But I changed my mind soon after that. I found her a bit over excited or something .. too expressive. What I saw was the Salzburg concert to the Mozart 250 anniversary, I heard Alleluia from Exultate jubilate. But again, I really love her.
Like the standard aria better...sounds a little "opera seria". I know there are several alternates to "Deh viehni"... But her obsession with obscurity seems to get in the way of better choices. She is the best we have. God bless her musicality...despite its interest in the arcane
This is the alternative aria written by Mozart for Ferrarese del Bene in Prague! Ferrarese had a very different instrument to Nancy Storace. I think it’s genius of Bartoli to use the aria that shows off her instrument better than “Dej vieni” can.
I love her spirit...but the facial acrobatics are hard to take...as is all the breath in the sound. I know this is for an effect...but I'd rather hear sound. I think Mozart would rather that as well :)
Bellissima e molta sontuosa Cecilia! ❤❤
I HAVE NO WORDS FOR THIS WOMAN....... SHES PERFECT AND IM OBSESSED!! Cecilia is my rock star!!! I just grin, cry and giggle like little school girl when ever I hear her sing!!
Mom loved her and chuckled about her seeking out forgotten composers, which is also my passion.
Bellissimo...this woman is incredible...I just love this performance. Cecilia you are the greatest :)
És increïble Mozart i la interpretació genial de Bartoli i l'orquestra!!!!
She is amazing. Musicality
Tutti grandissimi, grazie!!!
maravilhosa !, sempre !
SO WONDERFUL!!!!
*BRAVA!!!!*
The real miracle here is the horn playing! Bravo sir!
Jim P Very perspicatiously noticed of You!
To put it into context:
Figaros aria just before had two horns - it is a bit of a trite joke from Mozart as it is a pun on "getting horns" - wife being "infidela". (a joke Verdi also uses later).
Now this is the most insincere aria. Notice Cecilias eyebrows ;-)
First of all the object is to get the count trapped - that is why Susanna pours the ininduendo on with a shovel - but at the same time is knows/expects Figaro to be listning. And he is going to be teased - big time!
Susanna is chuckling and giggling simultaneously - she actually yodels!
She honks down in the low register (which Cecilia has a foghorn quality of, when it suits her) - especially on the word "foco" - both cyllables.
That is more than deliberate and controlled - it is the point, because in the aria in act 4 just before "Pace, pace, mi dolce tesoro" Figaro similarly blows more or less as deeply as a barytone can be expected to do - on the word "foco" - just before Susanna freaks out and whacks him - but the bastard continues and she really looses it and starts crying because she gets scared he might not love her. Then he comes with Pace, pace... and she realises that teasing is a game two can play - and he thus tells her he realised all the way, that she was pulling his leg.
Now this is only half true, as the horn is there as well as the bassoons - the clarinettes are more Susanna - has the same change in character at the change of register as a sopranos voice.
So it is "in the air" that Figaro has smelled a rat by her being overly cooíng to the count. But as the horn is playing as well - Figaro is not overly convinced.
But for the purpose of making up - it is close enough, like: "I knew all the time!"
Like Hell he did! But again - there is no reason to leave the little woman with an unfair advantage - that might later be inconvinient. He knows Susanna does not lie that much, but she tends to leave out things that she doesn't think he should necessarily know.
That was how it all started with her disinclination towards their new matrimonial quarters.
Grande interprete❤
Genial.
I have of course followed her career for years and years and even though she is one of my favorites, I sometimes find her rushing through Rossini too much. I know she can deliver fast fast coloratura but sometimes it doesn’t sound as appealing when it’s too fast (her Turco in Italia on DVD is an example). However she never, NEVER did that to Mozart. Her Mozart line is beautifully controlled and in such style. I love her!
@crepebananenutella she sometimes reminds me of our dachshund. and I loved our dachshund very much! she is a great singer. I hated her when I heard her first like six yrs ago but after that she became my favourite singer. one of the best. :)
Que de grimaces franchement !
Clémentine Poul That is totally warrented here, as the aria is deceptive in intention - both against the count and Figaro. It is exaggerated in words and music with a split audience.
I didn't listen to opera back then, I had no experience and so I somehow didn't like it, it was too different. But I changed my mind soon after that. I found her a bit over excited or something .. too expressive. What I saw was the Salzburg concert to the Mozart 250 anniversary, I heard Alleluia from Exultate jubilate. But again, I really love her.
super
nice job cei cei!
@crepebananenutella Strange? She is unhuman! THE BEST! :D
Go to Tebaldi with her gorgeous voice.
Sorry, though Tebaldi was a good singer she would not have been able to deliver a Mozart aria like Bartoli does here.
She is really amazing but the tempo is sooo slowly anyway she is a genious jejejeje
Go to Tebaldi with her pure voice.
Like the standard aria better...sounds a little "opera seria". I know there are several alternates to "Deh viehni"... But her obsession with obscurity seems to get in the way of better choices. She is the best we have. God bless her musicality...despite its interest in the arcane
Ce n'est pas l'air initial écrit pour Nancy Storace !
Quel dommage !
This is the alternative aria written by Mozart for Ferrarese del Bene in Prague! Ferrarese had a very different instrument to Nancy Storace. I think it’s genius of Bartoli to use the aria that shows off her instrument better than “Dej vieni” can.
I love her spirit...but the facial acrobatics are hard to take...as is all the breath in the sound. I know this is for an effect...but I'd rather hear sound. I think Mozart would rather that as well :)
Cecilia s'écoute mais ne se reagarde pas!! hahaha
Luckily we can't see you, too!!