Decca Classics publishes an amazing compilation of arias from Cecilia Bartoli he 27 November 2020, ‘The Queen of the Baroque’. Cecilia's first compilation album in a decade features the best of praised recordings of 17th and 18th century musical delicacies and discoveries., including two previously unreleased recordings and world record firsts of forgotten jewels of Italian composers Leonardo Vinci and Agostino Steffani.
A great supporter of the baroque repertoire throughout her career, Cecilia is joined in this recording by the special guests Philippe Jaroussky, June Anderson, Franco Fagioli Y Sol Gabetta, who share their passion for musical curiosities that have come to light throughout the centuries.
Baroque opera was characterized by the great wealth of new materials and by having had a wide audience eager for novelties. Costume styles evolved, they changed the distributions, newly developed solo instruments came to the fore, and the stories explored within the music kept reimagining over and over again. Structurally, a baroque opera was made up of arias linked to each other by recitatives that enriched the plot, displayed a multitude of similes and offered allegorical prints. Arias could be taken from one production and inserted into other, sometimes to create a work mess in which a “mega mix” of great popular hits was presented in a new context. Instead of being considered an exercise in plagiarism, this action paid tribute to great musicians and served to prolong the life of an aria.
'Queen of the Baroque' serves as a tribute to both Cecilia Bartoli, widely celebrated for his treatment of baroque arias, like the composers who created the greatest hits of their time. Moments of serene contemplation contrast with others of a virtuosic nature: the entire immense variety of the human condition is encompassed by lulling love duos, coloratura duels, religious fervor, war drama, moments of despair, Suggestive humor and sensational discoveries.
As an artist always looking for a friendly musical challenge, Cecilia Bartoli has built winning collaborations with both established and emerging artists. 'Queen of the Baroque' has enabled renewed collaborations with Sol Gabetta, Franco Fagioli, Daniel Behle y Philippe Jaroussky. A duet with American soprano June Anderson testifies to Cecilia's early career.
Throughout Cecilia's celebrated career, Period instruments and historically informed performing practice have played an essential part within his projects, leading to the formation of his own orchestra, The Prince of Monaco Musicians, in 2016. Cecilia will become the Director of the Monte Carlo Opera in 2023. She will remain Artistic Director of the Salzburg Pentecost Festival until 2026.
The album 'Queen of the Baroque' by Cecilia Bartoli is published on 27 November at Decca Classics
Cut List:
- Steffani – The triumphs of fate: "And the honor star tyrant" *
- Vinci – Alexander in the Indies: "How much I envy ... Who lives lover" *
- trade – Rinaldo: "Let me cry"
- Brooch – Artaserse: "Son qual nave"
- Pergolesi – Stabat Mater, P. 77: 1. "Stabat Mater dolorosa", with the collaboration of June Anderson
- Vivaldi – Griselda: "Moved by the wind"
- Steffani – Niobe, regina di Tebe: “Serena, or my beautiful sun ... My flame ... ", with the collaboration of Philippe Jaroussky
- Scarlatti – II Sedecia, King of Jerusalem: "Warm Blood"
- trade – Serse: "Shadow never fu"
- Albinoni – The birth of the Aurora: "Auras go and kiss", with the collaboration of Sol Gabetta
- Graun – Adriano In Syria: "Okay, you beautiful God of love ... Where is my good?”
- Steffani – Stabat Mater: "Spell Mater, love fund… Fac, Mother burn ... Your son ..., wounded ", with the collaboration of Franco Fagioli and Daniel Behle
- Caldara – The Triumph of Innocence: "They regret crying"
- trade – The resurrection (1708), Gorge 47: "Unlock, oh gates of Avernus"
- Purple – Germanic in Germany: "I'm leaving I leave you, o way "
- Steffani – The Triumphs of Fate: “Combatton quest’alma”, with the collaboration of Philippe Jaroussky
- trade – Rinaldo: "Nice pleasure"
*First world recording