Serafini al nostro canto, cantata for 3 voices & instruments: Aria della Pace. All'arme sì accesi guerrieri
Il giardino di rose: La SS Vergine del Rosario, oratorio for soloists & orchestra: Aria della Speranza. Mentre io godo in dolce oblio
Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Aria della Bellezza. Un pensiero nemico di pace
Il Trionfo della Innocenza, oratorio: Aria di Santa Eugenia. Vanne pentita a piangere
La castità al cimento, oratorio (Il Trionfo della Castità): Aria di Flavia. Sparga il senso lascivo veleno
Il Sedecia, re di Gerusalemme, oratorio for soloists, chorus, instruments & continuo: Aria di Ismaele. Caldo sangue
Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Aria del Piacere. Come nembo che fugge col vento
Il giardino di rose: La SS Vergine del Rosario, oratorio for soloists & orchestra: Recitativo ed aria della Carità. Ecco negl'orti tuoi...Che dolce simpatia
San Filippo Neri, oratorio for soloists, trumpet, strings, lute & continuo: Recitativo ed aria della Carità. Qui resta...L'alta Roma
Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Aria del Piacere. Lascia la spina, cogli la rosa
Il Sedecia, re di Gerusalemme, oratorio for soloists, chorus, instruments & continuo: Recitativo ed aria di Ismaele. Ahi! qual cordoglio...Doppio affetto
Oratorio per Santa Francesca Romana: Aria di Santa Francesca. Sì piangete pupille dolenti
Il Martirio di Santa Caterina, oratorio: Recitativo ed aria dell'Impertrice Faustina. Ahi quanto cieca...Come foco alla sua sfera
La Resurrezione, oratorio, HWV 47: Aria dell'Angelo. Disserratevi, o porte d'Averno
La Resurrezione, oratorio, HWV 47: Recitativo ed aria di Santa Maria Maddalena. Notte funesta...Ferma l'ali
Cecilia Bartoli maintains a near-perfect mezzo-soprano instrument, which she patently refuses to expose to material that might damage it; never will we hear Bartoli in voice-destroying roles such as Carmen nor in heavyweight mezzo parts such as those encountered in Wagner's Ring cycle. Even though she is a "mainstream" classical artist, the most "modern" composer she has recorded is Pauline Viardot, and even the Decca releases that established her as a star stick to composers such as Mozart, Beethoven, and Rossini. Bartoli ...
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Cecilia Bartoli maintains a near-perfect mezzo-soprano instrument, which she patently refuses to expose to material that might damage it; never will we hear Bartoli in voice-destroying roles such as Carmen nor in heavyweight mezzo parts such as those encountered in Wagner's Ring cycle. Even though she is a "mainstream" classical artist, the most "modern" composer she has recorded is Pauline Viardot, and even the Decca releases that established her as a star stick to composers such as Mozart, Beethoven, and Rossini. Bartoli eschews powerful vocal production in favor of greater flexibility, an ideal match for Baroque and Classical literature. Although one would not have pegged Bartoli as an "early music specialist" based on her earlier recordings, clearly she has found a place as an expert interpreter of such music. In Opera Proibita, where she is accompanied by the redoubtable Marc Minkowski and Les Musiciens du Louvre, it is hard to imagine anyone doing better in this material, over half of it never...
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Add this copy of Opera Proibita to cart. $16.82, new condition, Sold by insomniacsonline rated 5.0 out of 5 stars, ships from South Hackensack, NJ, UNITED STATES, published 2005 by Decca.
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