The singer presents in Spain a version semiescenificada of ‘La Cenerentola’ by Rossini: “it Is effervescent, sparkling, full of nuances”.

Cecilia Bartoli accumulate the celebrations in a year likely to the ephemeris: starting with his three decades in the ranks of the Decca label, and following on the 150th anniversary of the death of Rossini, which will honor with a version semiescenificada of ‘La Cenerentola’ that saturates these days in Madrid (this Monday, in the National Auditorium) and Barcelona (Thursday, at the Palau de la Música Catalana). Will the front of a cast at the height of the great temples of opera: Carlos Chausson, Edgardo Rocha, Alessandro Corbelli, Martina Jankova…

it is Not a Rossini either, but a review historicist at the hands of the set of original instruments Les Musiciens du Prince, which directs Gianluca Capuano. “The gut strings of the string section are an extension of the human voice”, granted by the Italian artist in his appointment with THE WORLD. “The result is an interpretation effervescent, sparkling and full of nuances”. And he gives as an example the stealthy but aggressive ‘sottovoce’ of the overture: “it Is a ‘crescendo’ that you shake and it makes you tingle on the inside.”

this is Not the first time that Bartoli reaches into the files musicological to invoke the essences ‘belcantistas’ of a score of the ‘ottocento’. Recently, dared to record the ‘Norm’ of Bellini, such as would be conceived by Rossini before the ‘sopranización’ romantic of the modern times. “I do not intend to amend or impose anything, but to offer the public the possibility of entering into a new sonic dimension,” he says. “With the instruments and the fretboard of the time you realize that it is not necessary to force your voice in any time because everything flows in a natural way”.

Rossini composed ‘The Cerenentola’ with 25 years, and in just three weeks. “The youth translates into freshness and speed, in a fast-paced that it grabs you from the beginning to the end.” Before the fall of the curtain, Angelina asks the prince to forgive her stepsisters with the famous rondo ‘Nacqui all affanno’, which summarizes the intrigue of the entire opera. “It’s one of the arias most complex of the catalog ‘rossini-like'”, be sincere. “It requires a great technique, but also have lived long enough to understand the true depth of the libretto, which is much more than a simple fairy tale.”

In the opera, the protagonist does not lose a crystal shoe, but a bracelet. “The explanation is simple: in 1817, the singers could not lift the skirt to teach the ankle”. Bartoli debuted the role 25 years ago to the orders of Riccardo Chailly and the sorcery lyric became the ‘prima donna assoluta’ repertoire ‘rossini-like’. “That interpretation was a turning point in my career,” says the singer, who since then has played on stages all over the world. “Although there is a great fondness for Rossini, for some reason is not among the priorities of some of the great theaters of opera”, it regrets.

behind the scenes, the rumour is that the stage directors are intimidated by a writing music so thoroughly embedded in the dramatic action that just leaves room to the imagination. “I don’t know if this is so, but I know that not everyone understands the extremely sharp sense of humor that holds your music. And I am not referring to the comic effects, but the double meaning of his operas, serious. Rossini was the Maradona of the improvisation, but with a mastery of the technique more typical of Federer”, he says between laughter. “A mixture is truly explosive…”

‘The Cerenentola” will also make his operatic debut in Madrid. “It’s hard to believe, but it is so…”, testifies to the singer, who has given several recitals in the Teatro Real. “It will be the first entire opera to interpret here and I am very excited to be in the hand of Rossini”. Will not be his only tribute to the composer from Pesaro. After making his debut at the Salzburg Festival in the role of Isabella in ‘L l’italiana in Algeri’, ‘mezzo’ Italian has assembled in a box of 15 cds, some of his best feats ‘rossinianas’ from her first recording of “The barber of Seville’. “I can’t help it… it has given me so much that, although published 100 more discs, I would still feel in debt with him.”

in Addition to the month that comes Bartoli will celebrate her 30 years of idyll record as an exclusive artist for Decca with the release of an album devoted to Vivaldi. “The first time that I recorded his vocal music was two decades ago, and I was surprised of the huge impact it had”. It does not refer to the 700,000 copies of that best seller, but the contagion effect that resulted in an entire generation of musicians. “My approach has changed because my voice is not the same and because I’ve matured. I would venture to say that this Vivaldi is more intimate than virtuosic”.

‘Smuggling’ of vocal talent

The ‘mezzo’ has just produced, under the protection of a new seal (Mentored by Bartoli), the first album of tenor Javier Camarena. Bears the title ‘Smuggler’ and is focused on the life and music of the legendary tenor, composer and Spanish impresario Manuel García. The album includes three recordings of world premiere in addition to arias of Zingarelli and Rossini (including the duo of ‘Armida’ in which it participates Bartoli). “Manuel Garcia had a life ‘caravaggiesca’, he was a man extraordinarily gifted that he spent a strong character… To such an extent that when his daughter, Maria Malibran, sang with him the last scene of ‘Othello’ ‘rossini-like’ he thought his father was going to kill the truth about the stage”.