Operatic Tina Turner

Enrique Sacau

viernes, 21 de abril de 2006

Cecilia Bartoli © Uli Weber | Maestranza

Lucerna, domingo, 9 de abril de 2006.

Konzertsaal Luzern. Cecilia Bartoli, mezzosoprano. Freiburger Barockorchester. Petra Müllejans, violin y dirección. Alessandro Scarlatti, San Filipo Neri: “Qui resta... L’Alta Roma”; Sedecia, re di Gerusaleme: “Caldo sangue”; “Ahi qual cordoglio... Doppio affetto”. Antonio Caldara, Il Trionfo dell’Innocenza: “Vanne pentita”; La Castità al Cimento: “Sparga il senso”; Santa Francesca Romana: Obertura; Il Martirio di Santa Caterina: “Ahi quanto cieca... Come foco alla sua sfera”; Santa Francesca Romana: “Sì, piangete, pupille dolenti”. Georg Friedrich Händel, Il Trionfo del Tempo e del Disinganno: Obertura; “Chiudi, chiudi”; “Lascia la spina”; “Come nembo che fugge col vento”; Sonata; “Un leggiadro giovinetto”; “Io sperar trovar nel vero”; La Resurrezione del Nostro Signore Gesù Cristo: “Disseratevi, o porte d’Averno”. Arcangelo Corelli, Concerto grosso op. 6 n. 12. Ocupación: 100 %

Nowadays Roman-born mezzosoprano Cecilia Bartoli is Europe’s prima donna assoluta. Renee Fleming may be America’s favourite female singer, but in the old continent most opera buffs are crazy about Bartoli’s talent. Her recordings sell very well and she fills the largest concert halls from Russia to Spain. What’s Bartoli’s recipe?

She has the most outstanding technique. The Italian mezzo has a wide range, displays amazing coloratura and, despite her scarce volume (not a problem in Luzern given the wonderful acoustics of the Konzertsaal), projects her voice efficiently. What is more, she is as much at ease singing music from the late Middle Ages as that by twentieth-century composers, such as Xavier Montsalvatge. One can appreciate most of her virtues in recital, although it is opera that she does best. If you have seen Bartoli…

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