Bartoli is considered a coloratura mezzo-soprano with an unusual timbre. She is one of the most popular (and one of the top-selling) opera singers of recent years. Bartoli is much liked by the concert-going public for her lively, vivacious on-stage persona, while her lyric voice and investigations of Baroque music have given her considerable recognition even among the non-opera-going public.
Early career:
Cecilia Bartoli's parents, Silvana Bazzoni and Pietro Angelo Bartoli, were both professional singers and gave her her first music lessons. Her first public performance was at age eight as the shepherd boy in Tosca. Bartoli later studied at the Conservatorio di Santa Cecilia in Rome.
In contrast to most opera singers, Bartoli came to prominence in her early twenties, unusual in a profession where vocal maturity is typically not achieved until the thirties. She made her professional opera début in 1987 at the Arena di Verona. The following year she undertook the role of Rosina in Rossini's The Barber of Seville at the Cologne Opera, the Schwetzingen Festival and the Zurich Opera earning rave reviews. She was soon invited by Herbert von Karajan to sing at the Salzburg Festival, and she worked with von Karajan on Bach's Mass in B minor. At this time, she also came to Daniel Barenboim's attention when he saw her performing on a French television tribute to Maria Callas. Working with the conductors Daniel Barenboim and Nikolaus Harnoncourt, Bartoli focused on Mozart roles, such as Zerlina in Don Giovanni and Dorabella in Così fan tutte, and from then on her career has developed internationally.
In 1990 she made her début at the Opéra Bastille as Cherubino in Mozart's Le nozze di Figaro and her debut at the Hamburg State Opera as Idamantes in Mozart's Idomeneo. This was followed by her La Scala début as Isolier in Le comte Ory in 1991, a performance which solidified her reputation as one of the world's leading Rossini singers.
Broad success:
In 1996, she made her debut at the Metropolitan Opera as Despina in Così fan tutte and returned the following year to sing the title role of La Cenerentola. On this occasion, there was much speculation that she had been secretly miked to boost her volume (as the Met is one of the largest opera houses in the world), but such rumours were steadfastly denied by the Met management. As a result of her acclaimed performance, the role of Angelina has become somewhat associated with her name.
In 2000 she triumphed in another Mozart soprano role, Donna Elvira in Don Giovanni, at the Deutsche Oper Berlin. In 2001 she made a long-awaited Royal Opera House début, taking the roles of Euridice and the Genio in the London stage première of Haydn's L'anima del filosofo.
Work in Baroque music:
In addition to Mozart and Rossini, Bartoli has spent much of her time performing and recording baroque and early classical era music of such composers as Gluck, Vivaldi, Haydn and Salieri. In early 2005, she sang Cleopatra in Handel's Giulio Cesare, a role written for a soprano, but which is in mezzo-soprano range. As her voice has matured it has gained the fullness and "largeness" it was earlier criticized for lacking. She often performs with the baroque Ensemble Il Giardino Armonico.
Work in bel canto:
In 2007/08 Bartoli devoted her time to studying and recording the early 19th century repertoire – the era of Italian Romanticism and bel canto – and especially the legendary singer Maria Malibran, the 200th anniversary of whose birth was celebrated in March 2008. The album Maria was released in September 2007 and was number one in the Classical Billboard Charts in the U.S as well as achieving Gold status in Belgium and the Netherlands. In May 2008, Bartoli played the title role written for Malibran in a revival of Fromental Halévy's 1828 opera Clari at the Zurich Opera. In June 2010 she sang the title role of Bellini's Norma for the first time with conductor Thomas Hengelbrock in a concert in the Konzerthaus Dortmund. In March 2011, Bartoli toured five Australian cities with two programs, drawn from Sacrificium and Maria.
Awards and position today:
Generally considered one of the best mezzo-sopranos of the present day, Cecilia Bartoli was honored as a Chevalier of the Ordre des Arts et des Lettres in 1995 and received the Léonie Sonning Music Prize in 2010. She becomes artistic director of the Salzburg Whitsun Festival, succeeding Riccardo Muti, in 2012. Cecilia Bartoli is married to the Swiss bass-baritone Oliver Widmer. In 2011, she won the Grammy Award for Best Classical Vocal Performance for Sacrificium.
Discography - Opera:
Rossini:La Scala di seta (1988)
Rossini: Il Barbiere di Siviglia (1989)
Mozart: Lucio Silla (1991)
Rossini: La Cenerentola (1993)
Puccini: Manon Lescaut (1993)
Mozart: Le Nozze di Figaro (1994)
Mozart: La Clemenza di Tito (1995)
Haydn: Orfeo ed Euridice (1997)
Rossini: Il Turco in Italia (1998)
Mozart: Mitridate (1999)
Haydn:Armida (2000)
Handel: Rinaldo (2000)
Mozart: Don Giovanni (2001)
Bellini: La Sonnambula (2008)
Halevy:Clari (2008)
Recitals with orchestra:
Rossini Arias (1989)
Mozart Arias (1991)
Rossini Heroines (1992)
Mozart Portraits (1994)
The Vivaldi Album (1999)
Cecilia and Bryn (1999)
Gluck Italian Arias (2001)
The Salieri Album (2003)
Opera Proibita (2005)
Maria (A Tribute to Maria Malibran) (2007)
Sacrificium (Arias written for Castrati) (2009)
Recitals with piano:
Rossini Recital (1990)
If You Love Me – "Se tu m'ami": Eighteenth-century Italian Songs (1992)
Arie Antiche (1992)
Italian Songs (1993)
Chant D'Amour (1996)
An Italian Songbook (1997)
Live in Italy (1998)
Sacred:
Mozart: Requiem (1992)
Scarlatti: Salve Regina
Pergolesi: Stabat Mater, Salve Regina (2000)
Cantatas:
Rossini Cantatas Volume 2
Collections:
Cecilia Bartoli Rossini Heroines (1992)
A Portrait (1995)
The Art of Cecilia Bartoli (2002)
Sospiri (2010)
Una voce poco fa
Cecilia Bartoli Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Qui nel cor mi risuonò;
Il mio cor ferito è già,
E lindor fu che il piagò.
Sì, lindoro mio sarà;
Lo giurai, la vincerò.
Il tutor ricuserà,
Io l'ingegno aguzzerò.
E contenta io resterò.
Sì, lindoro mio sarà;
Lo giurai, la vincerò.
Io sono docile,
Son rispettosa,
Sono obbediente,
Dolce, amorosa;
Mi lascio reggere,
Mi fo guidar.
Ma se mi toccano
Dov'è il mio debole
Sarò una vipera
E cento trappole
Prima di cedere
Farò giocar.
The lyrics of the song Una voce poco fa by Cecilia Bartoli speak of a young woman, who has fallen in love with a man named Lindoro. The first two lines of the song, "Una voce poco fa/ Qui nel cor mi risuono" means "A voice just now, here in my heart resounds". Her heart is already wounded and Lindoro was the one who caused it. However, she is determined to win him over and vows to do so. She believes that Lindoro will be hers, and she will be content. She is a docile, respectful, and obedient person, even being guided by others, as long as her weaknesses are not touched. However, she warns that if her vulnerabilities are touched, she will strike back like a viper, making her opponents play a hundred traps before she yields.
The song belongs to the comic opera The Barber of Seville by Gioachino Rossini, and the lyrics are sung by the character of Rosina in the first act. In this aria, Rosina is reflecting on her love for Lindoro, who she has only heard sing but has never met. The song portrays Rosina as a strong and independent woman, who would stop at nothing to win the love of Lindoro. The lyrics of the song, coupled with Cecilia Bartoli's powerful voice, made the song an instant hit and a star-making performance for the Italian opera singer.
Line by Line Meaning
Una voce poco fa
A voice just a little while ago
Qui nel cor mi risuonò;
Echoed here in my heart;
Il mio cor ferito è già,
My heart is already wounded,
E lindor fu che il piagò.
And it was Lindoro who caused it.
Sì, lindoro mio sarà;
Yes, Lindoro will be mine;
Lo giurai, la vincerò.
I vowed it, I will win.
Il tutor ricuserà,
The guardian will refuse,
Io l'ingegno aguzzerò.
But I will sharpen my wits.
Alla fin s'accheterà
In the end he will relent
E contenta io resterò.
And I will be content.
Io sono docile,
I am gentle,
Son rispettosa,
I am respectful,
Sono obbediente,
I am obedient,
Dolce, amorosa;
Sweet and loving;
Mi lascio reggere,
I let myself be led,
Mi fo guidar.
I am easily guided.
Ma se mi toccano
But if they touch me
Dov'è il mio debole
Where I am vulnerable
Sarò una vipera
I will be a viper
E cento trappole
And I will set a hundred traps
Prima di cedere
Before I give in
Farò giocar.
I will make them play.
Contributed by Asher A. Suggest a correction in the comments below.
@everfreequintillananananan4431
Una voce poco fa
Una voce poco fa
qui nel cor mi risuonò;
il mio cor ferito è già,
e Lindor fu che il piagò.
Sì, Lindoro mio sarà;
lo giurai, la vincerò. (bis)
Il tutor ricuserà,
io l'ingegno aguzzerò.
Alla fin s'accheterà
e contenta io resterò.
Sì, Lindoro mio sarà;
lo giurai, la vincerò.
Sì, Lindoro mio sarà;
lo giurai, sì.
~ ~ ~
Io sono docile, son rispettosa,
sono obbediente, dolce, amorosa;
mi lascio reggere, mi lascio reggere,
mi fo guidar, mi fo guidar.
Ma,
ma se mi toccano
dov'è il mio debole
sarò una vipera, sarò
e cento trappole
prima di cedere
farò giocar, giocar.
E cento trappole
prima di cedere
farò giocar, farò giocar. (bis)
@stefanuspaulus9185
I'm pretty sure Rossini was an optimist. He wrote this and said "sure, somebody will be able to sing this".
@ludmilamejibivsji9563
Лучше всех спела Екатерина Савинова...
@tinavansevich2488
🤣🤣🤣
@amneris78
@@ludmilamejibivsji9563 отнюдь.
@user-xl5ku2wg5n
Анна Моффо. Только ее исполнение никто не превзошёл.
@AndriusV
I believe at Rossini's times the vocal mastery was on much higher degree than now.
@josephinemariepinto351
Maravillosa, una de las grandes grandes, y además se llama Cecilia; es como un milagro, lo tiene casi todo, o todo, arte, simpatía, sencillez.
@fatimaa1047
Это Чудо...
@kylakt8299
came here bcs of seojin (actually yoon hee)
@hoanvupham2259
samee omg