December 29, 2014

Cecilia about 'Iphigénie en Tauride'

An article in 'Crescendo', in French.

Only a few points for those who don't know any French:

She's fascinated first of all by the balance of text and music. She finds Gluck's Iphigénie much more human compared to the cold Greek statue. She's looking forward to her debut, especially the role in French by Gluck to whom she always returns.

She answers to the question, how 'Iphigénie' fits into her Salzburg programm: She likes to show the great female characters (then she dives deeper into Gluck as one of the predecessors for Mozart, sorry, too many details).

Cecilia compares Goethe's and Gluck's Iphigénie and finds Gluck's much more lively, more passionate, a character that acts on its own.

By the way: Have a happy and healthy start into the new year to all of you! :)

December 15, 2014

Cecilia's Christmas feeling

The December issue (Renée Fleming on the cover) of Dutch music magazine LUISTER ("listen" but it has more meanings) has a 2nd article about Cecilia, after last month's.
This time specifically about Cecilia and Christmas.
I hope the author does not mind me translating it partly. Non-Dutch speakers are not going to buy it anyway and it's only 1 page of 130.

Cappelletti as religion. The Christmas feeling of Cecilia Bartoli.

Hinting at the wintery cover of her latest album, editor Ruud Meijer tries to uncover C.B.'s Christmas feeling. Not easy. If ever she refers to her Creator, it is usually in a more prosaic way.

How do you steer a conversation towards Christmas when outside the summer sun is still burning blue in the sky?
In the case of Cecilia Bartoli this is an extra obstacle on a way that already has enough obstacles. Bartoli has namely the ability to bend every personal question towards something work-or music related. Even though you know you do not need to expect devout stories about the Jezus child or the Trinity. If she refers to her Creator, it is in a more prosaic manner. That God, if He is in a good mood, is able to create heavenly voices like Anna Netrebko or Lina Cavalieri. or that she hopes to enter into Hell  after her death as she expects to be in joyful company who know how to make a good cappuccino. Also her relations with the Vatican are troubled ever since they cancelled a planned concert of hers there when she refused to take a stand about abortion.

Christmas, Bartoli tells, means for me meeting with my family and make music together. To sing and play outside of a stage, with my family. That is fantastic. My mother is a singer. My husband (Oliver) is, my father-in-law is. Those 2 families, a Swiss and an Italian come together for Christmas. I try to learn Schubert-songs then, hahaha ! And I teach them Italian songs. My sister-in-law plays the cello, my sister (Federica) also sings.
And we go cooking together. On Fridays we only eat fish. But the traditional lunch on the 25th is a whole different story. In the north of Italy where I come from (Parma), we always start with cappelletti. That's a filled pasta like tortellini, but looks differently. Cappelletti means "little hats" round with a point. We don't make them just like that ,it is sort of a religion. So yes, I am religious, hahaha !
I am now already nervous for the coming Christmas feast, if my mother will like my recipies. Sometimes she says, "this is not the way to do it!".
And if I am really religious? When I listen to the music of Mozart, Haydn or Handel, then I am convinced that God exists, no doubt about it !!  

Ingredients for Cappelletti with ham and pesto cheese:
500 gram cappelletti with raw ham:
400 grams peeled tomatoes
50 gram of rucola
1 onion
4 soup spoons pesto cheese.
1 cube chicken bouillon
1 soup spoons olive oil
3 soup spoons pine grains
Italian herb mix
pepper and salt

cook the cappelletti for 4 minutes

November 29, 2014

Cecilia will keep us glued to Salzburg till 2021 (at least)

Coming at the end of the hugely successful St. Petersburg Tour, the Salzburger Festspiele announced, that Cecilia will continue to be the artistical director of the Salzburg Whitsun Festival till 2021 !!!

October 30, 2014

THIS thread can be used for comments about concerts

Dear fans,
I feel we need a new thread for comments about concerts.
The one about the Amsterdam postponement is not quite the right one.
One would have to read it all to find out about concert experiences.
Long reports of course under Personal Reviews with a mentioning in this thread that one has done so. Is that OK?


October 25, 2014

Cecilia is ill : Amsterdam cancelled and postponed to November 5th 2014

  • Concert Cecilia Bartoli verplaatst

    Vanwege ziekte moet Cecilia Bartoli haar concert van 26 oktober in Het Concertgebouw uitstellen. Het concert is verplaatst naar woensdag 5 november om 20.15 uur. Toegangskaarten blijven geldig voor de nieuwe datum. Kaartkopers worden per e-mail of telefoon verder geïnformeerd.

October 23, 2014

October 22, 2014

Amsterdam signing session in Hermitage CANCELLED but Cecilia on Dutch TV Friday

The Hermitage website says that due to circumstances the signing has been cancelled. see  on the right, below ("geannuleerd")
Somewhere I have read though that she appears in the popular daily talkshow "De Wereld Draait Door" (DWDD) on Friday. That'll be a first as she used to go to "Pauw en Witteman".
DWDD is early in the evening (19.00 H, NPO1) but repeated late.
I hope the signing cancelation is due to suspicion of few people turning up and that she'll do it after the concert, or she has an important dinner on Saturday (sponsors?)


October 21, 2014

A favor to all (and me)

Dear fans,
 a  handful of people (Steffi, Ton and others) have gathered so many links to videos, audios and reviews about "St. Petersburg" and put them into the commentaries of any possible post.
Please make it easier for me, to catch up with putting them into the specific section and add them in the VIDEO/AUDIO and REVIEWS section as a commentary (allowed in both sections now all the way down on the site) , so I just have to copy and paste.
I tried, to pick all links and put them in those sections tonight.
But soon, I'll be away from my computer for some time (Cecilia is to blame -;) mostly) and eventually, it will be impossible for me, to actually catch every link.
In the sections, I can copy and paste them and then delete the commentary, so the newest reviews will be on the top of the site.
Thank you.
Klaus T.

October 20, 2014

If it's of interest, I've translated a couple of Cecilia's Italian interviews recently:

On why she needs to search in the archives to find new music to sing

And her opinion about the Rome Opera and Riccardo Muti

Next (when I've got more time) is a long interview for the Italian Opera magazine.

October 10, 2014

The Spectator goes to the St Petersburg launch at Versailles:

"When your launch parties are already as legendary as your coloratura (and every bit as extravagant), how do you up the ante? By taking over the Palace of Versailles, of course, for an evening of music, food and audacious spectacle that the Sun King himself would salute."

October 8, 2014

Cecilia signing in Amsterdam on Saturday 25 October CANCELLED

Quite fittingly Cecilia would sign at 6 PM in the Amsterdam branch of the St Petersburg Hermitage rmuseum on Saturday 25 October , Amstel 51. see

It has been cancelled though. see Hermitage website, on the right, below


September 27, 2014

The selected about 17 superfans

I counted about 17 winners of the Superfan competition on the Decca page and surprisingly none of the regulars of the present Forum are among them (but congratulations to Brian Harvey, the only Superfan I know and who did a lot for me).
What I think is that Cecilia or Decca wanted to honour fans who did not all (?) have much chance to see her live and that she/they found it impossible to choose between the fans who can go often to concerts and know her and eachother well. Didn't they want anybody to feel left out?
But more surprising is that it are only about 17 fans. I had expected 50 winners.
It would be quite interesting to hear here of fans who did get the prize and do read this forum.
Congratulations in any case.


September 16, 2014

Official trailer for "St. Petersburg" is online now

The new album gets promotoed by a new trailer, that contains another bit of one of the arias.
I suppose, the official site will be updated soon.

August 23, 2014

Full length prelistening of two arias...."Idu na smert" is back -:)

Thanks to Koile's and Christiane's hints, we have the chance, to listen to "O placido il mare""Idu na smert" was online for  only a day on a german site and now is back on Facebook -:).
Thank you in the name of all fans anticipating the new project -:).

August 3, 2014

St. Petersburg - Cecilia's new programme (CD and tour)

The release of Cecilia's  new CD "St. Petersburg" (Ltd. Deluxe Edit.) will be on 10th of October 2014 in Germany - according to and Composers mentioned: Raupach, Araia, Manfredini, Cimarosa. So all of you who will come to Cecilia's concert in Berlin on 22nd of October will be lucky to hear the first performance of her new programme!

I think this surprising project (at least for me) is worth to be discussed within a new post.
(I removed the started discussion in the Schedule section...Klaus T.)

June 26, 2014

Cenerentola Video

As a crump of comfort enjoy this little nice Euronews report:

(In German)

And here in Italian, French, Spanish, Portuguese, Turkish and English on the site of Euronews

Good night

June 23, 2014

L'Italiana in Dortmund is cancelled

Now it's officially on their site.

A swift recovery to Cecilia.

June 18, 2014

Bartoli's Back! ( La Scala)

Yesterday the new director of the Teatro all Scala, Alexander Pereira, announced Cecilia will give the closing concert in the Milan Expo Series at La Scala on 27 ottobre 2015. It is a "Homage to Vivaldi" programme with Diego Fasolis and I Barocchisti.

Tickets go on sale 14 August 2015.

Season presentation:

Full programme:

June 5, 2014

Salzburg 2015

And now, while others are right now attending the Premiere of 'La Cenerentola': The program of Whitsun Festival Salzburg 2015!

May 23, 2014

Warm up for Salzburg 2014

So I think it's time to warm up for Salzburg. :)

I found an article on, not a very sophisticated one, but it's only the beginning. They visited a rehearsal of 'Cenerentola' and again, it's not a traditional production. It takes place in present time, Cenerentola is a waitress. The director, Damiano Michieletto, who performs 'La Cenerentola' for the very first time, doesn't want to teach the past, but tries to connect the preferably lively people on stage with the audience. 

Though four singers are old stagers in 'Cenerentola', a very creative and relaxed atmosphere prevails (says the director). Cecilia says, open mind is the secret. And, concerning her voice, the love to her work and the passion for music are the best things against overloading.

If you have a Facebook account (or perhaps it's open to everyone?) you can see some nice pictures on Javier Camarena's account and get used to Cecilia in very red. :)

Salzburger Festspiele on FB, too.


May 1, 2014

New section for Personal Reviews

Dear readers.
After some personal reviews from Gil and Koile, which all ended up in the review section, which, by now, is a pretty long list, I added a new section, where you can add personal reviews at the very end of the chapter list.
 Personal reviews  used to be a regular part of the old Hypernews CB forum in the old days, but it has almost totally disappeared afterwards.
So I thank those of you for adding personal reviews in that exact section, as Google doesn't make it easy, to move contents, so I needed to copy and paste all the former personal reviews into the new section.
That section is open to all of you, no authorship needed, as you just add them as a comment.
Klaus T.

April 6, 2014

Bits and pieces of Otello

An admirer sent me those radio interview links:

You all have fun at the premiere tomorrow.....
or for  those, who had the fun already ,
enjoy another time.

March 15, 2014

Article in Opera

Koile hints to the article in which is called " Bartoli's plans for Salzburg".
It might be interesting. Maybe someone in the UK can tell us, if this is meant just for this season or if it gives us a future glimpse.

March 14, 2014

March 6, 2014

Sol Gabetta meets Cecilia and Silvana et al.

Tonight, March 6, on German television BR (Bayrischer Rundfunk), 11:15 pm

Watch the trailer here

March 2, 2014

Post scriptum for "The first time ..." The missing translation

As all, who own Verena's book, know, there was one story in it not translated into English, written by Dominique in French.
Thankfully, Gil managed, to climb the Everest and translated it for us, so those of us, who are not fluent in French can share it.
Thank you very much, Dominique and Gil for this wonderful story and it's translation.

Here it is:

(excerpted from the book "My First Time")

Dominique GELAY - France

Translated by Gil

Here is my first time with Cecilia:

Television is showing crazy amounts of snow, freezing temperatures, chaos at airports, delay in railway stations and maybe even in Underground. Will Paris be inaccessible, impassable, frozen until spring? Hm! can't it be possible to free Paris from its ice-bank for 24 hours, one Cecilia and myself have to meet there for a concert, she traveling from Amsterdam and me from Lyon? As for my part, I arrive as planned from the Capital of the Gauls to the Capital of Ice on the evening of the 18 of December 2010. I implore all known mythologies so that no offence thwarts the Handelian flights of my favourite Roman. The next day, I face bravely the wind, rain and my sense of direction to reach the salle Pleyel where I breathe again on seeing the concert is not cancelled. As always, a few utopians are looking for tickets. The audience gathers and I search for the fair-haired Rafaella and the red-haired Alcina in the crowd, but nobody... I am told no signing session is planned after the concert. Well, I cross my twenty fingers (hands and feet) so that the Italian lady be not in a hurry to catch her train for Monaco where she is to sing on the 21st, and I will run to the artists' entrance. When the usherette shows me my seat by saying, "It's completely down below", though I know that, I must look overjoyed like the ecstatic of the crib.

I install myself, I watch the fauna around me, I hear someone uttering with a doctoral intonation, "... I can't imagine bel canto, blah blah blah". I focus my attention on the stage and I notice something strange: the Scintilla accompanying Cecilia this evening is supposed to consist of 24 musicians, but I see a few chairs only. Are they going to play standing up? There is some agitation back stage. Someone enters the stage with a mike. The moment is serious. Could the fair one have slipped on the side-walk on arriving. No, Zurich and Paris are in the same position, planes and trains are blocked. For the moment, only a few musicians have won the elements, and they will give a chamber version of our dear Saxon. The rest of the orchestra is expected after the interval... The brave musicians enter under applause. Their conductor Ada Pesch, as well as the harpsichordist Sergio Ciomei are here. Ah! what a relief!

Then my beloved mezzo enters and I am already levitating in seventh heaven. She is only a few metres away from me. I am going to be able to follow all her expressions, slightly in counter-plunge, without anybody in front of me directly. Suddenly, with "Furie terribili", thunder rumbles, lightning strikes, wind blows and in front of me a sorceress invokes the Furies. I feel I am taken to a mediaeval clearing where I attend the prologue to a pandemoniac rite. Were the orchestra complete, I would nearly be afraid! The applause takes me back to the 21st Century. I renounce taking pictures of Cecilia in order to applaud my full share.

The attractive warrior disdained her advances. In "Dunque i lacci... Ah, crudele", the poor sorceress grieves between rage and despair. And that's it! the warm and soft voice of the singer flood my eyes with tears. I wish they be honey to sweeten her suffering. The applause breaks out too early to my taste. Being ever completely sincere, Cecilia would deserve a few seconds of silence in order to empty her over-flow of emotion and come back among us...

The beauty proceeds with the joyous "Scherza in mar" in which her vocal works are as twisted as the way her heart expects to win. Cecilia beams with a contagious pleasure, almost like a child, and I forget everything: the audience, the weather, the current difficulties. I wish it to never end, and I know I was right to come in spite of everything and gather joy and energy so as to face the rest...

No need of airport and ship to take us at the foot of pyramids! "Che sento, o dio... Se pietà" takes us to a devastated Cleopatra, as she imagines already her Julius, torn to pieces, gone away to the Osiris Gardens. The imploration of the mezzo transcends the suffering of the Egyptian queen, and her martyrdom barely audible and in a single breath gives me physical pain. I am like a fountain. Nothing exists apart from the torture this chant expresses. At one and the same time, I want it to end and to never end. I think I exorcize much of my own worries during that air. The last notes vanish and Cecilia bows, on the verge of tears. I know she has to control her emotion so as to keep her breath and voice flowing, but how does she do it? I am seated just a few steps away and I see it's a miracle her distress doesn't roll down her cheeks.

Scintilla plays Porpora as I return to Paris, the Pleyel Hall, my seat, the audience and the rest of the concert. The beauty comes back with "V'adoro pupille" where the cheeky Cleopatra implores her eye-balls (of a lovely brown that evening) to spare her heart (provided I understood everything correctly). Relaxed as I was, I gave myself up to the shades of that voice of brown and glistening colours like a baroque cello, and I shed tears of ecstasy and zero gravity...

After so many ups and downs, Caesar has the wisdom to be like the Golden Calf, still standing up! Cleo expresses her frenzy in "Da tempeste" and I enjoy the pleasure of seeing and listening a delighted Cecilia playful like a spring swallow with this Handel aria.

To have more fun in "M'adora l'idol mio" where a lady-love sings about her fidelity to Teseo, the singer undertakes a musical contest with an oboe player at her sides on stage. During that skirmish the voice and the instrument intertwine one another in a great "run-after-me-and-catch-me-if-you-can", as though to show to the narrow-minded and the kill-joy that one can also have fun on an opera stage! I rejoice!! At the end of that piece, the complete audience stands up for a triumph which Cecilia shares with her musicians as always.

I remain in my seat gently during the big agitation of the interval. People move a lot in front of me. To my displeasure, the thunder machines are taken away, but chairs are added and Ada Pesch checks their right place. The missing musicians have overcome the eternal snow! People come and go on stage. I like that simple atmosphere free from pretence. Then the audience sits again, the lights soften and, yes, all the Scintilla enters. They tune their instruments and there we go again!!!

Cecilia reappears, with the same black gown. Dash! where is the enticing strapless brassiere she wore in London and maybe in Brussels and Amsterdam? It might be due to the bad weather if we have a diva somewhat less sexy than the one the British had.

Bird songs pervade the Pleyel Hall. A most refined accompaniment weaves itself around the voice which sings quietly her love for freedom in "Felicissima quest'alma". A great feeling of safety pervades me. It's as though I was in a forest, at dusk in summer, when birds entrust the setting sun with secrets wherein to find strength to rise again in the morning. Cecilia gives us her sweetness, her tenderness in a communion from soul to soul...

Then the orchestra starts "Pugneran con noi le stelle" where a furious wife swears revenge. Well, I can tell you an Italian woman in wrath is something impressive. I made myself as inconspicuous as possible.

The Roman mezzo went on with "Ah mio cor" where Alcina wavers between despondency and courage, weariness and firmness, in a true synthesis of our earthly course constantly in suspense between these two. With my depression, I recognize myself completely in this aria, in that deep and staggering voice, conveying an endless despondency which is all-absorbing like a black hole... And suddenly, a wave of energy lifts us up: we would like to undertake everything, we think we have pierced our worst dragons at last, but alas, despair comes back to enclose us with its mist in the twirls of an endless sadness...

To allow Cecilia and us to land after such a Himalaya of emotions, the orchestra launches itself boldly in the march of Julius Caesar.

Ah! comforted, we see a trumpet-player and an oboe-player surrounding the diva for "Destero dall'empia Dite", again an aria speaking of Furies, fearful ghosts and other charming characters. The three accomplices have fun like mischievous sprites in pursuing one another with unrestrained arabesques, and Cecilia concludes with the beautiful gesture of a swordswoman, acting like piercing the trumpet-player! The hall is en fête. Like everybody, I want more of it, more, more!!!

The Beauty doesn't leave us so early. With the fresh and joyous "Bel piacer", the Roman lady heartens us to enjoy love. It's a moment of pure intimacy where Cecilia gives the impression of speaking to everyone like a friend.

She prolongs the concert with "Lascia la spina", "Leave the thorn, pluck the rose", a solemn aria for something quite hard to put into practice at times. Cecilia likes very much this song. I think she had already sung it as an encore at her "Sacrificium" recital in the Théâtre des Champs-Elysées.

But she has to conclude ... and with all magnificence! She tackles the da capo of "Son qual Nave" with a note she intones facing the audience, she maintains by turning towards the back stage and she still extends by revolving again towards Ada Pesch while varying her voice colours, all this in one single breath! It harms my chest, it's as though as I couldn't breathe any more. I am hypnotized, intoxicated by a blending of fright and rapture... And it endures and endures... When at last she breathes, the entranced audience acclaims her, and she must quieten us in order to resume her singing which is like a mountain region with jumps and summits. "Triumph" is a weak word to qualify the applause which unchains then. It's an apotheosis, a grand finale. All the audience offers a standing ovation, acclaiming her. Cecilia bows down, she comes out, comes back, flowers are presented to her...

That flower bunch reminds me the envelope I have brought for her and which contains the poem she has inspired me with, and some other poems. I rush at the stage before she comes out once for all. Yes, the foolish woman who jostled all people acclaiming Cecilia, was myself. The crazy one who gave her a red envelope just before she left the stage, was myself. That being done, in full regression and like a teenager in front of Lady Gaga, I rush to the exit, I run to the artists' entrance where a few persons are already waiting (how did they reach here, I overtook everybody???). The charming official woman in charge of screening the incoming informs us that there is no other exit (for the sake of safety, I hope it's a lie), that Cecilia Bartoli is bound to pass here, that we are going to see her for sure, though it may take some time as she is receiving some persons in her dressing-room, and that nobody knows whether they have planned something or not. O Lord in whom I don't believe, may You be praised during the few millenniums to come, I missed her three times, but this time will be the good time. I am thrilled with relief and also fright. I only hope emotion won't paralyse me too much...

In order to check whether my ball-pen works, I write the time on an underground ticket, 07:50 pm. I pull out "Sacrificium" from my bag and I entreat all the gods ever imagined that she didn't lose my envelope somewhere in the wings. Time advances, other fans arrive, the dismantled harpsichord is taken away, a few people enter, others come out, the pretty Cerberus lady jokes with the firemen on guard. Then a few musicians come with their instruments in hand or on their back: "Bravo! Bravo!", shout the small crowd in gratitude. The harpsichord player Sergio Ciomei passes with a few others, followed by the conductor Ada Pesch much applauded and a few others. The hands of clock go forward and my heart attempts to reproduce the baroque ornamentations with a pretty arrhythmia. People come in and out, the watchwoman is being called on phone, I get upset! At last the door opens on a smiling Cecilia holding a flower pot in her arms. She deposits it on the reception counter close to me. Someone gives her early pictures to sign. Then it's the turn of a man and a few others... Being shy somehow, I wait for the most eager ones to be served, I smile to Cecilia's mother Silvana and I dare finally to give Cecilia my CD, uttering "For Dominique". She signs it with her rounded writing. A lady gives her a magazine, someone else the concert programme. I venture to ask her having a picture with me. She turns towards me and click! I will be able to say for posterity, I was there!

The diva signs, she answers questions, and I launch myself: "May I kiss you?" She turns towards me and we kiss each other. I am longing but for one thing: to hug her, but I don't dare... What makes me shy most is not Cecilia, but the feelings of all the other fans who are waiting for her. The greatest singer of the time is near me, so I owe respect, regard and discretion! Ah! I would like to have her just for me, I would dare telling her so many things: that "Sacrificium" should be burnt on DVD, as the one already released doesn't show the extraordinary exchange happening on stage with the audience, that I hope "Le Comte d'Ory" will be filmed in Zurich on January, etc., but other people are waiting for their autograph, their little words, their photograph, their kisses, and I keep standing there, which is going to be annoying. As a matter of fact, someone, maybe from Decca, asks me, "Do you have anything else to be signed?" So I move back waiting for the ball-pen I lended. Will somebody tell me why I didn't move to take pictures of Cecilia with her fans? Finally my property is returned to me and I go my way while the Fair one exclaims "Emozione!"

February 26, 2014

La Cenerentola with Cecilia in Zürich Season 2014/15

Today the season 2014/15 at Opernhaus Zürich was presented to the public. La Cenerentola with Cecilia will be shown!

I am pleased and a bit confused: I always understood that the opera-productions with Cecilia from Salzburg Festivals never will be shown anywhere else. Do you think that this is still that way? And the announced Cenerentola in Zürich is the production from 1994 (Lievi)?

February 10, 2014

Videos of 'Alcina'

Watch, listen and enjoy!

Cecilia singing 'Ah, mio cor'. Tears promised.
A part of the great 'Ombre pallide'.

:( --- Cecilia's videos are off. ---

The splendid Malena as Ruggiero: 
Sta nell' Ircana 
Verdi Prati

Final applause

What a great performance!
Copyright: Thierry Pillon

February 6, 2014

Cecilia on Mezzo and release of 'Le Comte Ory'

On behalf of Ton: MEZZO will show two operas with Cecilia, on Saturday 8-2  (and 20 and 26 February)  OTELLO and Tuesday 11-2 (and 19-2)  SEMELE.

Furthermore the release of 'Le Comte Ory' is announced via E-Mail and here: March 3, only on (not in Germany yet). A blogger shows the cover of 'Otello' here. Anybody showed that on the Forum already?


January 15, 2014

About Alcina

Read in 'MAG15', magazine of the Opernhaus Zürich, about Alcina.

From Malena's Facebook account:

January 6, 2014

Cecilia and Malena

Work on 'Alcina' is going on, and they seem to have fun. :)

I found it on Malena Ernman's Facebook account.