SACRIFICIUM / Bartoli, Il Giardino


Bartoli · Il Giardino Armonico · Antonini
Int. Release 16 Oct. 2009
1 CD
Cecilia Bartoli uncovers the extraordinary world of the 'Castrati', and sings the glorious music they inspired.

Latest News - 14 February 2011
This album has just won a Grammy in the category "Best Classical Vocal Performance".


Nicola Porpora (1686 - 1768)

Antonio Caldara (1670 - 1736)

Francesco Araia (1709 - 1770)

Nicola Porpora (1686 - 1768)
Germanico in Germania


Carl Heinrich Graun (1701 - 1759)

Nicola Porpora (1686 - 1768)
Semiramide riconosciuta


Leonardo Leo (1694 - 1744)
Zenobia In Palmira


Nicola Porpora (1686 - 1768)


Carl Heinrich Graun (1701 - 1759)
Adriano In Siria

Leonardo Vinci (1690 - 1730)

Antonio Caldara (1670 - 1736)
La Morte d'Abel figura di quella del nostro Redentore

La Morte d'Abel

Cecilia Bartoli, Il Giardino Armonico, Giovanni Antonini

再生時間合計 1:18:01

Bartoli's new disc is undoubtedly a celebration of the castrato voice [delivered with Bartoli's trademark commitment and virtuosity.]

. . . dazzling performances of arias by Caldara, Porpora, Leo, Vinci and the relatively obscure Aria. Bartoli's oversize bravura transcends the formulaic nature of so much of this music, with its gurgling passagework and tick-tock accompaniment. She handles leaps, arpeggios, tricky turns and figuration, chains of trills and repeated notes meticulously, and with an infectious delight in her own stupendous vocalism . . . Bartoli's impeccable technique represents a similar attention to detail, and each time she returns to this repertoire she brings more tonal beauty and less mannerism. It is safe to say she has mastered historical vocal technique, with its throat articulation, differently weighted registers and minimal vibrato. She even generates the same frenzy and debate as the celebrated castratos. Where to go now?

She proves well up to meeting the nigh-impossible vocal demands the music written for them makes on technique and breath control . . . As well as display, there's real depth in such items as the exquisite "Qual farfalla" by Leonardo Leo and Caldara's "Quel buon pastor". There's a percussive thrill to these period-instrument accompaniments and the sound is well judged.

Bartoli's hordes of fans will just love this album: the scholarly research into obscure repertoire and resultant cornucopia of world-premiere recordings; the lavish booklet with everything you've ever wanted to know about castrati; the machine-gun coloratura (freer of aspirates than often in the past); the breathy, sighing, swooning cantilena; the throaty growls and chesty swoops; the consummate microphone technique . . . [Listeners] might appreciate dipping into delicacies by Propora, Graun, Broschi et al, be they Handelian or Vivaldian, prolix or concise, stormy, plaintive or -- here and there -- winsome . . .

. . . I was enchanted by and approved of much . . . [The performances] are generally excellent . . . [Bartoli] worked like a demon on this album. In the slow arias, she lessens her vibrato with varying degrees of success and produces many of the . . . wonderful effects . . . Her singing in the slow arias is simply breathtaking, and will melt your heart. The most successful of the "fiery" arias is Araia's "Cadrò, ma qual si mira", sheer technical perfection of a kind that you will never hear replicated in your lifetime, because this particular aria, and its emotional expression, are absolutely perfect for Bartoli's voice . . . everything on Bartoli's album will impress . . . This CD is very much worth getting for the slow arias, the booklet, and "Cadrò, ma qual si mira".

. . . So lässt sich auch bei "Sacrificium" . . . viel lernen -- und enorm viel genießen . . . [Cecilia Bartoli ist] die Königin unter den Sängerinnen Alter Musik . . . [eine] spektakuläre CD . . .

Welche andere Sängerin unserer Tage wäre wohl in der Lage, die irrwitzigen technischen Anforderungen der neapolitanischen Kastratenschule des 18. Jahrhunderts derart mühelos umzusetzen? Ohne die geringste Anstrengung hören zu lassen, durchmisst die Bartoli einen Tonumfang von gut zweieinhalb Oktaven, fasziniert gleichermaßen mit schier endlosen Koloraturkaskaden wie mit schwebenden Pianophrasen . . . [Bartoli zeigt] lehrstückhaft, wie sich hinter den kalkulierten Effekten der Barockmusik tiefe Emotionen freilegen lassen. Unterstützt wird sie darin vom vorzüglichen Originalklang-Ensemble "Il Giardino Armonico" unter der vor Energie nur so berstenden Leitung von Giovanni Antonioni. Doch ist das neue Bartoli-Album nicht nur ein musikalisches, sondern, wie bei dieser Sängerin üblich, auch ein editorisches Ereignis.

An Phrasenenden lenkt Cecilia Bartoli die virtuose Geste immer wieder um in gesteigerte dramatische Deklamation oder Exklamation . . . Es gibt in diesem Album keinen Moment eines gekünstelt verhauchten Singens. Vielmehr macht Bartoli durch eine in Weh-Moll getauchte Tongebung das Lob begreiflich, das den Kastraten gezollt wurde: eines Singens, "das nur mit der Seele gehört werden kann".

Wieder beeindruckt La Stupenda durch ihre geläufige Gurgel und ihre zwischen Dekoration und Affekt virtuos ausbalancierte Gestaltung. . . . Hinreißend wieder die Phrasierung der ruhigen, getragenen Episoden, etwa in "Sposa, non mi conosci" aus Giacomellis "Merope". Erneut ein großer medialer Aufwand (zwei CDs, zwei Bücher, Tournee etc.), der sich freilich lohnt.