Tempus fugit, time flies … and how! This was Cecilia
Bartoli’s first ever recording at the age of twenty-two. Bartoli
was the daughter of two members of the Rome Opera. Her mother
became her teacher when eventually the young Maria recognised,
as had her mother already, the potential of her voice and where
it might take her. It was to take her to be the second most
famous Italian opera singer of the day, the first being the
Italian among the renowned Three Tenors.
Bartoli had debuted professionally a couple of years before
she auditioned for Christopher Raeburn, the redoubtable Decca
recording producer. He heard gold for his employers in her vocal
chords and artistry and she was signed up. The challenging programme
on this first recital disc marked an important stage in her
career. Some commentators mentioned her name alongside, and
as a successor, to Marilyn Horne and Lucia Valentini-Terrani
in this repertory, which was gaining increasing exposure after
years of neglect. This was somewhat premature as exemplified
by Bartoli’s singing of Cruda sorte! Amor tiranno! from
Rossini’s first great comic opera success, L'Italiana in
Algeri, premiered in Venice in 1814. Whilst Bartoli’s singing
is secure and delightful on the ear, it does not stand comparison
with her elders, with Horne in particular being an outstanding
exponent of the role (see review).
What Bartoli lacks compared with Horne is depth of tone. That
being said, her vocal flexibility in coloratura and her range
of expression is to be admired in the act two Pronti abbiamo
- Amici in ogni evento - Pensa all Patria (tr.2) as Isabella
hears from the slaves that they are ready with arms. Realising
that she can execute her plan of escape from Mustafa she exhorts
them to think of their fatherland. Similarly her coloratura,
trill and expressive nuance are well to the fore in the extract
from the less well-known La pietra del paragone (tr.7).
Decca did not stint on this recording and a full chorus is present
when required adding to the thrill of Bartoli’s performance.
Bartoli’s vocal range is exhibited in several excerpts, extending
up to soprano’s high C. Her lighter tone and expression in the
higher register is heard to advantage in the extended Willow
song from Rossini’s Otello, so different from that
of Verdi, as Desdemona asks for the peace of sleep (tr.5). The
lighter vocal timbre was to develop further after she ventured
into the Mozart soprano repertoire with performances as Despina,
Zerlina and Susanna. The latter role at the Metropolitan Opera,
New York, led to ructions and the departure of the producer,
the vastly experienced Jonathan Miller, when Bartoli insisted
on singing the alternative act four aria to the traditional
Deh vieni and which revealed two facets of her character,
Diva temperament and a tendency to some musicological research.
The former has meant some late cancellations or withdrawals
that has seriously limited Bartoli’s opera performances in Britain,
whilst as her voice has developed she has moved away from the
traditional mezzo repertoire into rarer areas of repertoire
that she believes suit her evolving vocal strengths. Decca has
not failed to go along with her wishes and a captivating series
of recitals and recordings has resulted. This, as with her albums
titled Opera Proibita and Sacrificium, The Art of
the Castrati, are often associated with concert performances
around Europe of which I have been privileged to see two (see
review
1 and review
2)
The concert performances referred to appear to have become something
of a substitute for staged opera for Bartoli. Whereas in the
first years of her fame she performed widely in America and
Europe, except in her native Rome, her stage appearances are
now rare. It remains to be seen if her administrative appointment
at the Salzburg Festival will increase those, or the opposite.
In the meantime this recital is a reminder of several of her
stage roles, and her vocal skills in this repertoire. She has
recently taken steps into more dramatic soprano repertoire with
concert performances of Norma. In that respect she might
well heed John Steane’s updated notes from the original issue.
Unusually in re-issued lower price CDs, the leaflet contains
words and translations in English, German and French.
Robert J Farr
Detailed tracklist
L'italiana in Algeri
Cruda sorte! Amor tiranno! [4:55]
Pronti abbiamo - Amici in ogni evento - Pensa all Patria [9:40]
La donna del lago
Mura felici ... Elena! O tu, che chiamo [10:08]
Tancredi
O patria ... Di tanti palpiti [8:26]
Otello
Assisa a' pič d'un salice - Che dissi! - Deh! calma, o Ciel, nel sonno [9:10]
Stabat Mater
Fac ut portem. Christi mortem [5:14]
La pietra del paragone
Se l'Italie contrade ... Se per voi care ol torno [8:46]
La Cenerentola
Nacqui all'affanno e al pianto - Non pių mesta [7:52]
Cecilia Bartoli (mezzo) 
