Cher Public

Einspring can really hang you up the most

Winter Met sensation Pretty Yende does another jump-in this weekend, again in Le Comte Ory, but this time at the Theater an der Wien. She’s subbing for Cecilia Bartoli, who has canceled her first two performances of Comtesse Adèle there. [Der Standard]

The bald mezzo-soprano

She’s been a showgirl, a bubble dancer, a drag king, and of course a maimed statue.

But now, thrill to Cecilia Bartoli in her greatest role of all time: Father Merrin in The Exorcist!

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Space cadet

Who’s that girl in the “Hot Voodoo” wig riding on a rocket? Why, none other than the lovely and talented Cecilia Bartoli, offering us a glimpse of her Cleopatra at the Salzburg Pfingstfestspiele, which is a German word for “Memorial Day.” She heads a glittering company including Andreas Scholl,  Anne Sofie von Otter, Philippe Jaroussky, Christophe Dumaux and Jochen Kowalski in Giulio Cesare, to be  telecast tomorrow afternoon starting at 2:42 PM EDT, and the cher public are invited both to watch the show in the embedded player after the link and to chat in La Casa della Cieca.

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No greater joy

A rare production of Rossini’s Otello, with a perhaps even rarer stage performance by Cecilia Bartoli (in her role debut as Desdemona) should provide an interesting afternoon’s viewing this Thursday.

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Casta divette

What’s the diminuitive of “Normina?” Well, you’d better start coining the word, because Cecilia Bartoli is recording Bellini’s Norma, with John Osborn, Sumi Jo and Michele Pertusi; leading the Orchestra La Scintilla will be, well, Bartoli mostly, but nominally in charge will be Giovanni Antonini.

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Did Cecilia Bartoli get married?

Opera Chic reported a couple of days ago that “[t]he Italian mezzo married her longtime boyfriend, big buff Swiss bass-baritone, Oliver Widmer. However, there is no official confirmation of the nuptials, and a closer reading of the Chic’s purported source for the news suggests that Bartoli and her beau are “just good friends,” as we gossips used to say back in the day of tougher libel laws. But more to the point, what the hell is La Cieca supposed to do now with that gift-wrapped blender?

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Nerve center

“Il più amato, il più osannato, il solo e unico varietà operistico radiofonico quotidiano,” or, as we call it, La Barcaccia, examined earlier this week “Donne sull’orlo di una crisi di nervi.” The divas on a verge of a nervous breakdown include Cecilia Bartoli and our own Renée Fleming in a (though not the) legendary performance of “I Could Have Danced All Night.” Go to the Podcast Rai.TV page and select “LA BARCACCIA del 23.11.2010.”

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One sigh fits all

I used to think that recital albums, greatest hits albums, and concert albums were just products of a singer’s vanity—or conductor—and that they terribly lacked imagination or preparation or dramatic heft. “Greatest Hits” albums frequently suffer from this affliction, as it is, more often than not, just a mish-mash of what this soprano or that basso sings best without regard for the medium of albums. No drama, no story, just “look (or listen) at me.” When I received this recording of Cecilia Bartoli’s Sospiri, I was a little worried: I had just finished reviewing an awful recital album and here […]

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More than a Kunstdiva

Parterre Contemporary Diva finalist Cecilia Bartoli has added another hat to already extensive headgear wardrobe: artistic director of the Salzburg Whitsun Festival.  Her first project: Handel’s Giulio Cesare in 2012. [Washington Post]

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Anxiety, cum-blog vital, say divas

Monsters and Critics reveals: “Although acclaimed mezzo-soprano Cecilia Bartoli has achieved almost everything there is to achieve in the world of classical music, she says she is still anxious ahead of every performance. In an interview with the German Press Agency dpa this week, the 44-year-old Italian opera star said a certain dose of stage fright is important to her career.” Now, about the cum-blog, after the jump.

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