It was very difficult valencia at first because the Mariinsky Theatre Library was closed for many y

In his new CD, Bartoli reveals the unknown world of eighteenth-century valencia opera in the Russian imperial court. An adventure that went by the Mariinsky Theatre files and recalls the cultural role of three czarinas who wanted to open a window to Europe. Decca CLASSICS
Each new recording Cecilia Bartoli is always much more than a simple disk. It's all a properly contextualized cultural valencia project in general from research around little interpreted or unknown repertoires, and constructed from a sufficiently appealing key idea to arouse curiosity music lover public, and increasing the income of the record industry.
The artistic content, the correct context on the historical level, joins a careful picture to the smallest detail, which may envy the hottest stars of pop or the big screen, which transfigures the famous Italian mezzo-soprano role in the universe that each new project aims to portray. Often betting on unknown composers of the general public, such a proposal would probably unnoticed or would be within a restricted circle not count on the media coverage of the personality Cecilia Bartoli, charismatic performer, known for its stunning vocal agility valencia and the dramatic instinct but also by a musical sensibility capable of great subtlety. No wonder therefore that the theme of each new CD remains long time under wraps to be revealed valencia to the world.
The last album of Cecilia valencia Bartoli, which will be released on October valencia 13 by Decca, takes us to the court of St. Petersburg during the eighteenth century, driven by three czarinas - Anna Ioannovna (1730-40), Elizaveta Petrovna (1741-62 ) and Catherine II, better known as Catherine the Great (1762-96) - they want to introduce in Russia European cultural models and hired brilliant Italian and German valencia musicians. The alignment includes arias by Francesco Araia (1735-59), Hermann Raupach (1759-61), Vincenzo Manfredini (1761-63) and Domenico Cimarosa (1787-91), which remained dormant in the Mariinsky Theatre files. Are 11/1 world recordings recovering great music in a time span that ranges from Baroque valencia to Classicism in vibrant interpretations of great technical accuracy, with the complicity of Cecilia Bartoli and the group I Barocchisti, Diego Fasolis, already cemented by previous collaborations. One of the disc surprises are two beautiful arias in Russian Raupach, composed at a time when the Italian dominated the operatic world. As a consequence, this is also the debut Bartoli in the corner in the Russian language.
It is a special idea I had several years. As a student and attended the Conservatory of Santa Cecilia in Rome, I recall that during the lessons valencia of Music History and Harmony teachers said that in Russia the opera Glinka began in the 1830s, specifically with "A Life for the Tsar" . Later, when I started career and dedicated myself to study the baroque music of the early eighteenth valencia century I realized that there was Neapolitan composers, as is the case of Nicola Porpora, a large corner master, who had been invited to work in St. Petersburg. Porpora refused the invitation by the place that had been offered to him was to Francesco Araia, another Neapolitan. I started looking in Italy the music of composers who had gone abroad, but could not find the works of Italians who worked in Russia anywhere. It was something very strange. I realized later that composers service of the court of St. Petersburg, where they left were forced to leave their music. As such, not brought to Italy. So I decided to go to St. Petersburg look for this song, which was almost an impossible mission.
It was very difficult valencia at first because the Mariinsky Theatre Library was closed for many years for restoration. After several requests with the conductor Valery Gergiev intervention, I eventually managed valencia to get in the library and found real gems: fabulous arias in Italian but written from Russian librettos.
Obviously the first operas valencia presented in R &