52 ordspråk av Cecilia Bartoli

Cecilia Bartoli

Cecilia Bartoli föddes den 4 juni 1966
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When I suggested a Vivaldi disc [in the late 90s], it was difficult to convince them to do it. But it was enormously successful and I proved that there was an audience ready to discover it. I like to present a project which has both a commercial and a cultural element. I try to combine them.

I know my body and what it's possible for me to do. Also, I want to keep the enjoyment of making music. Music is my passion and I don't want to lose this passion just because my schedule is full.

I think the music of Mozart is like a universe of human feelings, sentiments and fragility, and ... that's why it's so 'actual' in a way, so modern.

Performing this music here, where he was born, in a way you feel 'Oh, this is what Mozart saw, this is what Mozart was breathing; the air, the atmosphere'.

The joy is actually in the music. It's the music that supports you and tells you what to do. It tells you how to fill the music. You don't have to be shy about feeling the music when you're singing. If you believe in music-the power of music-the music will support you and take you to another dimension.

This is what I feel I'm born to do.

I was surprised to learn that Gluck spent some months in Prague at the time when we know operas by Vivaldi were being performed there.

It's like when you want to make a house... the technique is very important.

So you see, movies are really another dimension.

I like jazz of course, but jazz is almost classic. I like some Italian pop music. When I was a teenager I was a big fan of Flamenco music since I was studying Flamenco. But I was also listening to Madonna and Michael Jackson. Michael Jackson was my idol. I still believe he was one of the greatest pop stars.

German is more familiar now since I live part of the year in Rome and part in the German part of Switzerland. But it's not difficult to sing in German; it's difficult to feel in German. This takes time. It's a culture.

It's very special historic time, and there was a lot of change made in 18th century.

Actually, I would love to do some Handel operas. The oratorios are also beautiful. I would love to do it. It's also a priority to sing it in German.

It's very difficult, because also at the end of the opera, so I have to try to keep energy, the energy and the freshness of the voice until the end, so-it's really a big lesson that Rossini wanted to give to every singer, to every mezzo, yes.

The voice will guide you-will tell you what to do. In order to do that, you must be quite sensitive with the instrument and accept this daily conversation with your voice.

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