Gioachino Rossini She used to complain when she complained that all the ills that oppressed her were typical of women: "I only need the uterus," she told a friend. Perhaps he was exaggerating, because this hedonist, as fond of cooking as of music, was an often delirious hypochondriac. But if physically it sometimes failed in its self-diagnoses, in psychology, no. Of good knowledge of the feminine soul, Rossini gave samples when composing The Cenerentola. Specifically in the role of Angelina, who in her day changed the life and career of Cecilia Bartoli and the singer represents now in National Auditorium of Madrid and the Palau de la Música of Barcelona on the 22nd and 25th. At the same time, he likes to refresh the memory of some and warns about the policies of harassment of foreigners in his country: "Italians also emigrate, nobody likes to take that path".
Bartoli especially likes to show off with the diabolical king of belcanto among the composers. But with respect to what the score reflects. Rossini encouraged the freedom of the interpreters and, in a way, challenged them. But up to a certain limit. One day he accompanied the soprano Adelina Patti in 'Una voce poco fa', famous aria de The Barber of Seville. When he finished listening to his infinite flourishes and ornaments, he said: "Nice piece, what composer is it?". Bartoli would have dropped his face in shame if the musician released that same reproach. Even so, he knows the style thoroughly and accepts the risks. More when he returns to this beaten but dignified Cinderella 20 years after his clamorous success at the Metropolitan in New York and, from there, all over the world: "If I must define his music is fine, transparent and effervescent, like champagne "
So he feels it also with the musicians who accompany the show now. The Musiciens du Prince, an orchestra from Monaco directed by Gianluca Capuano, who plays with period instruments: "They are magnificent. Light and virtuous at the same time, to underline all the colors of this opera ". A semi-staged representation – with Edgardo Rocha, Alessandro Corbelli and Carlos Chausson, among others – which is an event because the master mezzo-soprano has offered dozens of recitals in Spain, but has never faced an opera. He takes great care of his appearances in that field. It is almost exclusively limited to Zurich theater, the city where he lives, some points in Italy and France or the Salzburg Festival, where she is the artistic director of the Easter edition.
Opera fans know well the talent of Javier Camarena. They have applauded the Mexican tenor in theaters, they have followed him on YouTube, they have acclaimed him in recitals and they have consecrated him throughout the world at 42 years of age. But if until early October they wanted to find a record of theirs, they would not have found it. Until now. Because astonished by that hole in what is quite a career of great divo on the stages, Celia Bartoli has decided to remedy and produce her first recording. It has been in his own company, Decca, but under a special brand that starts with him. On the far right of the folder is read in golden letters: Mentored by Bartoli. "This lack is proof that young singers are today very unprotected by the system," says the singer. "The discs are still fundamental to build careers. More with a voice like yours, which is pure gold. " Both have also recovered repertoire to offer a special product. Manuel García, musician of a lineage of singers, has set his sights on the Spanish language. Father of María Malibran, great romantic diva to whom Bartoli also dedicated his own album. Smuggler the album is titled. Includes Garcia's own arias -three hitherto unpublished- in dialogue with his contemporaries like Rossini. A good recorded debut.
Angelina crosses within her the most sophisticated of the feminine universe. It is a symbol of exploitation, but also of cunning. Skillful survivor, accomplice, empathic and tender. A portent of patience, inner hardness and emotional intelligence: "She is the strongest in her environment. It could be a superwoman for the diverse talents that it possesses, but it prefers the simplicity to the arrogance. Choose carpe diem before anything else and you have a sense of humor. "
Bartoli knows it thoroughly: "It is the role that has lasted me most throughout my career. I find it complicated from the beginning. When you are younger you enter as you can in the theatrical rhythm and the Rossinian crescendo. Now, with the technique that for years I have learned from the baroque and the castrati, another style different from belcanto, I have achieved a resistance capacity that allows me to reach the final part of this opera without any problem. That helps me resist. It has been a fundamental gymnastics, "he says.
One of the great secrets of Bartoli has been reserved. "I find many colleagues who decide to do everything. I do not. I know what my terrain is. Baroque, yes; Wagner, no. Mozart, Bellini, Rossini, Haydn, okay. Operas by Puccini, no. " You have to establish red lines if you want to get in top conditions for as long as possible. There she follows, immersed in a splendid maturity and looking back with verve and aware that she still resists not only this Cenerentola. Also a return to Vivaldi, another of the summits of his career.
When also 20 years ago he brought to the market the amazing Vivaldi album, it swept the market with millions of copies sold thanks to an exquisite and unknown repertoire. He dismantled several preconceived ideas in the industry: he contributed a conceptual method and a different way of doing in the classical field. He joined rigor and taste with a hook for the audience. He also triumphed in that field.
The singer, in addition, was commissioned to dust off the operatic facet of the Venetian libertine priest, much more attached to the passions of the earth than to the virtues of heaven. "Now I return to him, in a more intimate and introspective way, with a certain melancholy," he announces. His new album appears in November on the label Decca: "Disco or recording, now the music is heard in streaming, the object and the habit have mutated, but the way to do it is the same ". With his previous work, his hours of investigation in the archives and the execution: "There you deceive no one. It should be as honest as possible, "he says.
As she is about the time her country is going through, with the disturbing Matteo Salvini in the middle and her policy of harassment of immigrants: "When I see the treatment that some of them want to submit to me, I remember my grandmother. It was she who told me as a child that we Italians have been an emigrant town during the first half of the 20th century. In fact, if we add the Italians and their descendants from abroad, they are much more than those who live inside. Like those who are now fleeing to Europe from their countries, we also escape hunger, conflict and misery. The real politics, in the background, should be done in the places where all the reasons that force someone to leave their country to avoid it explode. "