It's an open secret that the classic CD market is not exactly rosy. Sales of several plates are in the three-digit range and play scarcely or not even the production costs. Only a few interpreters are guarantors for sure success. For the label Decca this is the Italian opera singer Cecilia Bartoli. Each of their new releases makes it to the top of the classic charts. So that nothing goes wrong, a large PR fireworks will be ignited before the sales start.
This is also the case with Bartoli's latest CD dedicated to Farinelli (1705-1782), the most famous castrato in the history of music. As with Hollywood films, Decca released a just under 26 seconds long trailer "behind the scenes" a good quarter of a year before the release of the record, which shows the mezzo-soprano - her voice is not heard - at the photo shoot for the cover of the record.
Because even the spectacular self-staging has been part of the advertising campaigns Bartoli and their label for years. The optics should provide as much as possible for conversation. On the "Farinelli" album, the Italian presents herself with open hair, beard and crossed arms over her bare chest as Conchita sausage blend.
It is hardly surprising that the first reviews of Bartolis at the end of November in Baden-Baden started their tour more with the clothing and performance of the opera divas than with their vocal qualities. Reviewers skip lobes and surpass themselves with superlatives.
Not changeable enough
And no question: The Italian still has a captivating charisma and stage presence, as they are unique in the classical music scene. Although she has reached or even exceeded her zenith, Bartoli still has a beautiful and touching voice. Alone: It fits extremely limited to the music of the High Baroque. The ideal setting for the works with which Farinelli put the audience in ecstasy is guaranteed Italian. Their voice volume is much too large to come close to the filigree vocal art of the castrati.
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06.12.2019, 15:15 clock
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DISPLAY
Cecilia Bartoli
Farinelli
label:
Decca
Price:
16,99 €
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Her album is proof of that. Note: works that way. Bartoli's voice is not changeable enough. This is audible in both the quiet pieces and thunderous da capo arias, which begin with a fast section and end in an exact repetition of the same, while the middle one is slow and sustained. The dynamic contrast between the two parts is not refreshing. The impression is reinforced by the fact that the Italian woman charges every single note so dramatically that it lacks intimacy in the quiet passages. Especially in the gentle arias you can feel that Bartoli wants to make it sound very nice. However, just then her voice acts strained. That is why there is always a lack of lightness which is indispensable for Baroque music, which in itself is already full of affect and ornament. But her verve is not enough.
"Musical adventure trip"?
The flaws come to the fore when compared to records dedicated to Farinelli, most notably the CD released a few weeks ago by the Italian conductor Stefano Aresi and his ensemble "Styles Galante". About his interpretation, his extremely reduced use of instruments - you can argue about it. But Aresis's approach is innovative. And what the Swedish mezzo-soprano Ann Hallenberg achieves is magnificent: breathtaking virtuosity and lightness meet.
"She loves musical adventure travel, and she tries to avoid trodden paths," Decca wrote about Bartoli on the occasion of the new CD. That's right. With her Vivaldi album, released two decades ago, she played a large part in making the Italian composer's opera work better known. On closer examination, however, the statement is only PR. Although the "Farinelli" CD, according to Decca, contains two world-first releases - an aria by Nicola Porpora and one by Riccardo Broschi, the brother of Farinelli - one can hardly speak of a musical adventure trip.
Especially with works of Porpora and his contemporaries, many beautiful (and better) albums have come on the market in recent times. Apart from that: Every month albums appear with archived compositions that have been recorded for the very first time, but hardly anyone takes notice of them.
Critics who tear popular and successful artists will be happy to attest. Therefore again to the record: This is not a tearing. Cecilia Bartoli is a great singer. Baroque is simply not her thing - and it will not be anymore.